“While comedy is undoubtedly a lucrative genre, it should not come at the cost of forsaking meaningful storytelling and artistic depth.”
It is an undisputed fact that the most commercially successful films in Nollywood belong to the heavily saturated genre of comedy. This has undeniably resulted in the repetitive use of stories, familiar faces, and even recurring characters. Consequently, other film genres have struggled to find their footing. I don’t blame the creators of these comedies; it’s a safe bet in an industry where survival is paramount.
However, the narrative may be shifting with the emergence of films with diverse genres such as “Ile Owo” “Ratnik,” “For Maria: Ebun Pataki,” “Juju Stories,” “Obara’m” and more in Nigerian cinemas. This is not to say comedies are terrible, but, if filmmakers must continue to make comedies, they should do so with quality, sophistication, and a lasting impact.
While cinema primarily serves as a form of entertainment, it can also possess artistic depth and meaning, which every good film should encompass. Sadly, when this discourse begins, the industry giants swiftly prepare to defend their territory, suppressing any attempts to engage in meaningful dialogue. For these industry giants, creating quality comedies seems to exclude anything that requires intellectual engagement. Don’t get me wrong; providing entertainment is cinema’s most vital function. However, we both know that these box office “blockbusters” often fall short in providing genuine entertainment. With extensive marketing and stellar casting, the underlying belief appears to be, “They’ll watch it anyway.”
Tyler Perry, for instance, uses the comedy genre to tackle racism and other challenges faced by Black Americans while delivering uproarious laughter and entertainment. This is a prime example of blending humor with a meaningful message, a dimension sorely missing in the industry today.
With many Nollywood products, you can finish watching a film and, despite failing to entertain you, still struggle to discern its purpose. I can’t help but recall a specific sequel from EbonyLife films that epitomizes this, but mentioning its title would be a bridge too far.
Consider the limited pool of films within the same industry that manage to entertain while also providing artistic excellence and you’d realize the reason for the industry’s seemingly backward mobility on a global scale. If filmmakers aren’t able to deliver on artistic depth and beauty, they should, at the very least, excel in the realm of entertainment. This deficiency is beginning to erode the artistic sensibilities of viewers.
I may not be the most well-versed in world cinema, but one thing remains certain: you can create outstanding films and they can be comedies.
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