Movies, now more of laughing matter

In response to market dictates, more Nigerian actors are falling in love with comedy, writes GBENGA ADENIJI

Acting, being a performance art, requires talent and creativity. These are two basic qualities a dramatist that knows his or her onions must possess to make impact in the make-believe trade.

Perhaps, it is in realisation of this fact that many role interpreters are diversifying into other roles different from the ones they are generally identified with.

A growing trend now in the Nigerian film industry is the influx of comedy movies in both English and Yoruba genres, with actors hitherto identified with serious roles now wearing a clown’s garb.

For the English films, comedy actors such as Nkem Owoh, John Okafor  (Mr. Ibu), Chinedu Ikedieze and Osita Iheme (Aki and Pawpaw) are still part of the popular faces in the English comedy movies.

Some of the comic films include Stubborn He-Goat, starring Owoh, My Sugar Banana, Ibu and School Life, Mr. Ibu in Trouble, Aku and Popo Sisters, Madam Landlord, Final Sweet Potato and Holy Mountain.

Leading the pack in the Yoruba comedy genre are Olaniyi Afonja (Sanyeri), Femi Adebayo, Odunlade Adekola, Babatunde Brainard (Baba Tee), Adekola Tijani (Golugo), Lizzy Anjorin, Muyiwa Adegoke and Toyin Aimakhu. Of course, Lanre Omiyinka (Baba Ijesha), Kunle Olakunle (Dejo Tunfulu), Bolaji Amusan, otherwise called Mr. Latin and Babatunde Omidina (Baba Suwe) are still in the comedy business.

The movies in the comedy realm include Iyawo Gbajumo, Ayo wa Miri, Once Debe, Aminatu Pa-Pa-Pa, Atenuje Koni Pani, Alata Sue, Ori Bishop, Kofo Tinubu, Monday Omo Adugbo, Agba Sese, Ipako, Olojojo, Ijewuru and Muniru ati Ambali.

Interestingly, the titles of the films – either in English or Yoruba – are as funny as the themes.

For instance, in Iyawo Gbajumo, Aimakhu plays the role of the second village-bred wife of Adegoke, who brings her into his brother’s house in Lagos when the latter travels abroad.  

She eventually gets corrupt by Lagos life and becomes a sexual commodity to many, including the cook (Kunle Afod) and the gateman (Omiyinka). Things turn into excess as she overdoes everything, including her dressing and make-up application.

The thriving of comedy movies, particularly in the Yoruba genre, is believed to have been aided by the   commercial success recorded by Funke Akindele’s Jenifa. Besides, while serious films may attract intense criticism in terms of their content and form, comedy movies may escape such. This is because noticeable dramatic flaws could be taken to be part of the dramaturgy. 

 In a telephone interview, Amusan says since comedians are known to make people happy, they are often loved by people. He adds that because there are many problems in Nigeria, it will not be proper to compound them with tough films.

He says, ‘‘Viewers need comedy movies to let out stress either at work or at home. When I started comedy 25 years ago, I was doing it just for the love I have for it and for fun. But we now have many people acting comedy because it is now lucrative. Also, if you are into comedy, people will like you because they know that you are funny and make them happy with your roles.”

On his part, television producer, Tajudeen Adepetu, however, says whatever is noticeable in the industry is nothing other than individual discretion in production to further the sector’s development.

He notes that all spheres of drama are supposed to be fused in television production to cater for a wider audience.

Adepetu  states, ‘‘Each production is at an individual’s discretion. But we know that in Nigeria once a barber buys a bicycle everybody on that street becomes a barber.’’