₦airaland Forum

naptu2:


Ferrari Mondial Cabriolet

Scent of a Woman (1992).



https://www.youtube.com/watch?v=8JGsb0Cgy2o

The Mondial Cabriolet featured prominently in another movie, but I can't remember what movie.

End.

Ferrari Mondial Cabriolet

Scent of a Woman (1992).



https://www.youtube.com/watch?v=8JGsb0Cgy2o

Reactions

Netflix Naija @NetflixNaija

We’ve got MAJOR news for you today! Netflix has partnered with acclaimed producer @MoAbudu to bring you two of Nigeria’s most beloved literary classics to screens around the world!

A series-adaptation of @LolaShoneyin'sThe Secret Lives of Baba Segi's Wives and a film-adaptation of Prof. Wole Soyinka’s Death And The King's Horseman!

Wait...there’s more! @MoAbudu and her @EbonyLife_TV will produce two new Nigerian Originals plus licensed films AND a series for Netflix!

This na Naija!!

https://twitter.com/NetflixNaija/status/1271351845672423424

Baba Sala's son explained what actually caused the first major case of movie piracy in Nigeria.


Movies were shot on celluloid film during the Golden Age of Nigerian Cinema and they were shown at cinema theatres. There was a distribution structure in place at that time. There were cinema theatres all over Nigeria and these theatres paid the movie makers a license fee in order to show their movies. Video cassette recorders did not become popular in Nigeria until the late 1970s and it was mainly the wealthy that could afford such VCRs, so people usually went to the cinema theatres in order to watch the latest movies.


Baba Sala made the movie Orun Mooru in 1982. It featured a cameo appearance by King Sunny Ade. However, a problem occurred very early in its cinema run.

The movie was given an award in the United States, so Baba Sala travelled to attend the award ceremony. He took a copy of the film reel, in order to show the movie in the US. There was another copy that was left at his office in Ibadan.

A very wealthy man showed up at Baba Sala's house while he was in the US. The man was a Muslim. He told Baba Sala's family and workers that his wives could not watch the movie because they were in Purdah and therefore they could not go to the cinema. He said that he wanted to give his wives a treat during the Eid holidays and he appealed to Baba Sala's family and workers to come and show the movie in his house. He said that he was ready to pay any amount that they asked for and he was ready to pay on the spot.


Baba Sala's staff felt that this was a great opportunity to impress their boss by making some money in his absence. They took the film and projectors and showed the movie at the wealthy man's house. What they didn't know was that the man had a hidden camera at the back and he was recording the movie as they were showing it.

Baba Sala's workers went home satisfied, but a few days later pirated copies of the movie appeared on the streets and some cinema theatres began showing the movie even though they were not licensed to show it. Baba Sala made a huge loss on that movie.


3 years later (in 1985), Baba Sala made the blockbuster movie Mosebolatan. It was directed by Ade Afolayan and cinematography was by Tunde Kelani. The movie made ₦107,000 (arround ₦44.2 million in 2015 naira) in its first five days at the cinemas.

Baba Sala's son tells the story of Orun Mooru.



https://www.youtube.com/watch?v=gZRHbpRhhZY

Asisat Oshoala Says That Gaelle Enganamouit Has Not Retired From Football
https://www.nairaland.com/5918901/asisat-oshoala-says-gaelle-enganamouit

Lyoncrescent:
Evening, I think I understand you. However if I'm correct I think the Nigerian film and video censors board came into being in 1993 to handle regulation of the video format if I'm correct. The Nigerian film commission news created in the 70s to handle film/ cinema if I'm correct. Like you have said , not all movies made in America are Hollywood movies which is correct . I once heard Kenneth okonkwo speak on this issue and his point was that prior to living in bondage there was no structure for video format movies hence the creation of the Nigerian film and video censors board in 1993 after the release of living in bondage. He also said that membership association and structures came into being after this period of living in bondage. I know one or two directors who don't like to classify their movies or films as nollywood. The funny thing is even the living in bondage released in 1992 was not the first movie released on VHS or popularised through VHS. I know a movie released by late alade aromire that was released in 1989 on VHS format.

All in all, I think people can only see what they want to see regardless of facts. There was a thriving film and cinema industry before 1992 whether they believe it or not.

The Nigerian Film and Video Censors Board came into being as part of President Babangida's liberalisation and regulation policy. That administration had a lot of brilliant people who created a lot of brilliant policies, but the problems were in the implementation.

Basically, the government (on paper) wanted to liberalise the economy and create other sources of income apart from crude oil. In order to create new sectors it needed a lot of regulatory agencies to monitor these sectors. If you look back, you'll notice that a lot of these regulatory agencies were created at the same time: Nigerian Boradcasting Commission, Nigerian Film and Video Censor's Board, National Agency for Food Drug Administration and Control, etc.

The National Film and Video Censor's Board didn't really create a structure when it was initially created. It's main role was to prevent the production of movies that the government did not like. Like I wrote earlier, a lot of those sectors were not really regulated. Would you believe that I watched scenes that contained nudity on the NTA in the late 1980s and early 1990s? There was no government agency to prohibit that. Actions were usually taken after the fact and they were taken arbitrarily. Similarly, drugs were sold anyhow before the creation of NAFDAC. Most of the chemists had no pharmacists. So the censor's board was created to ensure that pornography and other such movies that the government did not want were not produced.

A structure existed during the cinema era. In fact, that was one of the criticisms of Nollywood in its early days, that it did not have a structure, unlike the golden age cinema industry. Movies weren't released anyhow during the golden age. A movie must have its cinema run. It must have its premiere. There was a system for producing and releasing movies back then. That system began to break down in the early 1980s. I'll tell you how it broke down at the end of this post.


As you rightly said, home videos existed before Nollywood was created. I watched the popular and amazing movie "Evil Encounter" (the Cult of Natas) on video in 1983 or 1984. This was the period that the cinema culture began declining. People were afraid to go to the cinema at night because of violent robberies. The swinging Lagos night club scene was also affected. Therefore, people like Jimi Odumosu decided that it made more sense to produce their movies on VHS and sell directly to people.

This also affected the cinema culture in a terrible way. Moses Olaiya (Baba Sala) was used to making a lot of money from the cinemas. That was when the structure was still in place. This meant that he could invest a lot of money into movie making and reap his profits afterwards. However, the early 1980s was a different kettle of fish. People had started realising that you could sell video cassettes and make your money back quickly. Baba Sala released Orun Mooru, but before it could make money for him on the cinema scene, people had pirated it and were selling it on video cassettes. This was the first time that he lost money in the movie industry. He lost a lot of money. The structure had broke down.

tolu ogunlesi @toluogunlesi

STATE HOUSE PRESS RELEASE:

To commemorate Nigeria’s Democracy Day, President @MBuhari will broadcast to the nation on Friday, June 12, 2020 at 7am. TV and radio stations enjoined to hook up to network services of @NTANewsNow & @radionigeriahq.

https://twitter.com/toluogunlesi/status/1271111410270044161

Noneroone:
movie production wasn't a money spinning business prior to Nollywood. You know it is the truth that's why you are running around the thread reposting comments.

Hahahahahahahahahahahahaha

This is getting comical. I have posted so much fact, but you don't post any facts, you simply appear and post your own opinion as if that means anything. The box office takings for Mosebolatan and other movies are in my previous post to you but you can't address that because you don't know what you are talking about. You are the one running around this thread going in circles.

You are probably too young to know that there was a movie industry during the golden age. You rushed into this thread to spew ignorance. You were confronted with facts that you did not know and your only response is to keep running around and posting your opinions as if they are facts.

If it was not a money spinning business, then you should at least tell us what the box office receipts were that made it not to be successful. This is getting to be like comedy. Just look at your response to all the facts I dropped.

More

Kaduna State Government Closes School For Violating Quarantine Regulations

The Kaduna State Government has closed a private school for conducting entrance examinations in violation of the quarantine regulations.

The @contactkdsg has closed Future Leaders International School and revoke it license to operate.

https://twitter.com/Kaduna_MoE/status/1271074048706043906

Asisat Oshoala Says That Gaelle Enganamouit Has Not Retired From Football
https://www.nairaland.com/5918901/asisat-oshoala-says-gaelle-enganamouit

More

3 hours ago the Cameroonian FA's official Twitter account retweeted this tribute to Enganamouit by the FIFA World Cup account.

https://twitter.com/FIFAWWC/status/1271002186382786560

https://twitter.com/FecafootOfficie/status/1270813857007665154

Former African footballer of the year, Gaelle Enganamouit celebrated her 28th birthday on June 9th (last Tuesday) and she made several posts on Twitter, Instagram and Facebook in which she said that it was "The end" and thanked her fans. Reports surfaced shortly afterwards that she had retired from football. The president of the Cameroonian FA (FECAFOOT) and Cameroonian star striker Ajara Njoya paid tribute to her on her retirement.

See previous thread here https://www.nairaland.com/5917329/gaelle-enganamouit-retires-football

However, Enganamouit's best friend, Nigerian star striker Asisat Oshoala, has said that she spoke to Enganamouit and that her posts were misunderstood. She said that Enganamouit has not retired from football.

See a screenshot of Oshoala's tweet below.

https://twitter.com/AsisatOshoala/status/1271063626783342592

It's been excellent since the lockdown began. . .until this week. This week they've decided to punish us for the excellent power supply that they've provided in the past 3 months.

Things Fall Apart (Bullfrog In The Sun) (1971).

Produced by Francis Oladele.

Directed by Hans Jurgen Pohland

Starring Orlando Martins https://en.wikipedia.org/wiki/Orlando_Martins

Elizabeth of Toro https://en.wikipedia.org/wiki/Princess_Elizabeth_of_Toro

Johnny Seka https://en.wikipedia.org/wiki/Johnny_Sekka


Etc.



https://www.imdb.com/title/tt0208779/

Noneroone:
In all your posts you speak of 'indigenization' 'purchasing power' 'oil boom' etc which suggest an industry that is over reliant on foreign stakes and excessive government intervention to survive rather that the business ingenuity of the local stake holders. most of those cinemas were own by foreigners, the then govt concerned there wasn't truly a 'Nigerian movie industry' as the bulk of the profits was going to cinema owners, handed ownership of the cenimas to Nigerians who ran it aground. if it was a self sustaining industry, the govt would only regulate not intervene. You can't run a business without a viable and efficient marketing network that gives you return on investment. Those who produced for cinema went out of job during economic recession because the cinema was expensive and wasn't really viable, at least in the Nigerian business environment. They had to run to govt owned channels to provide them content and beg for sponsorship. Nollywood brought it's own channel of marketing, building an empire where the govt was the regulator not interventionists. we've had several recessions since then yet the industry still grows.

HALLELUYIA, PRAISE GOD!!!

We have made progress. You have now admitted that it was an industry! One by one we will break down your attempts to rubbish the industry.

Your first mispeak was that it was not an industry.

Do you have any comments about your second statement that there were no production companies? (I'm sure you've seen the names of the production companies in my reply).

What about your third statement that it wasn't making any money (I'm sure you've seen the box office takings in my reply)

(I have noticed that anytime you make a false allegation and I disprove it, you never ever admit that you were wrong. You simply move on, shift the goalpost and make another false allegation).


Firstly, you said that the movie industry was not known beyond Nigeria and did not get any foreign input and now you say that it was reliant on foreign stakes?? That shows that you have no idea what you are talking about.

The industry was reliant on takings from the cinema business. When the economic crisis occurred and armed robbery became a big issue, people did not want to go to the cinemas for fear of being attacked at night. That's why home video became popular, because you can watch it in your house without being attacked.


Secondly, there were Nigerian owned cinemas before the indigenisation decree and that was stated in my reply, so don't try to make it seem like it was government that created the Nigerian owned cinema. The indigenisation decree was significant because it ensured that 300 foreign owned cinemas were transferred to Nigerians. There were over 300 cinemas in Nigeria at the time and yet you say that it wasn't an industry??

Thirdly, in case you don't know, the indigenisation decree was not a decree about movie theatres specifically. The decree mandated that the controlling shares of all companies in Nigeria must be in the hands of Nigerians. It was this decree that led to the Nigerianisation of Union Bank, First Bank and all such other companies. https://en.wikipedia.org/wiki/Nigerian_Enterprises_Promotion_Decree


Fourthly, I'm not going to play your game. You are trying to turn this into a battle between Nollywood and the Golden Age of Nigerian Cinema because you've seen that all your attempts to rubbish the Golden Age have failed. I am proud of Nollywood and I have repeatedly said so here. What I won't accept is people trying to say that there was no movie industry in the 1950s, '60s, 70s and 1980s, like you tried to do. That is patently false. It is also false to say that the movie industry only consisted of selling TV series, as you tried to assert. There were epic movies that were made like Kongi's Harvest, Bullfrog In The Sun (Things Fall Apart), Death of a Black President, Mosebolatan and others.


Besides, your latest attempts to shift the goalpost won't work. All industries have flaws and industries come and go. Your attempt to say that because the Golden Age ended in the 1980s therefore it was not an industry is laughable. Once upon a time coal was the major means of powering machines. It is no longer the major means of powering machines and the coal industry has gone into decline. Should we then say that there was nothing like a coal industry? Petroleum products are currently being used to power machines, but people are currently frantically looking for alternatives to petroleum (look at Tesla). If they succeed would we then say that there was never a petroleum industry because it went into decline? That doesn't make any sense. An industry is defined as a sector that produces goods or related services within an economy. The film industry produced services and related goods in the 1950s, '60s, 70s and '80s and it was an industry.

There was a film industry in Nigeria, it was recognised worldwide, it was profitable to the extent that foreigners invested in it, it employed a large number of people and made famous movies and anybody that tries to deny these facts does not know what he is talking about. Period!

Noneroone

Indigenization Decree and the 1970s boom


In 1972, concerned about the influx of foreign culture into Nigeria, the Indigenization Decree was issued by the then head of state Yakubu Gowon; which demands the transfer of ownership of about a total of 300 film theatres in the country from their foreign owners to Nigerians.[10][6][17] Also, more Nigerians started playing active roles in cinema establishment; notable examples of this include: Metro cinema and Rivoli Cinema, which was owned by Chief Lisabi, and Danjuma Cinema by Alhaji Danjuma.[11] This transfer also resulted in the emergence of Nigerian playwrights, screenwriters and film producers; popular literature and theatre works were adapted into motion picture. One of the most popular film people in this new wave was Hubert Ogunde, mainly because he promoted indigenous Nigerian language, arts and culture through his works.[10][17]

The oil boom of 1973 through 1978 contributed immensely to the spontaneous boost of the cinema culture in Nigeria. The presence of foreign investments led to the erection of several cinema complexes. In 1976, The 5000-capacity National Arts Theatre, Iganmu was constructed in Lagos. The theatre was incorporated with two cinemas, each having a capacity of over 700 people.[11] At this time cinema business had become a notable employer of many people and also served as an important social function, as Nigerians visited cinemas for relaxation and entertainment purposes.[11][20] The increased purchasing power in Nigeria also made a wide range of citizens to have extra money to spend on cinema going and on home television sets.[4]

Some foreign producers and directors also worked in Nigeria to make films in Nigeria, as a result of this boom, including people like Ossie Davis who directed Kongi's Harvest, a film based on the novel of the same name by Wole Soyinka, which was released in 1970. The film was adapted to screen by Soyinka, produced by Francis Oladele under the Calpenny Nigeria ltd production company.[4][19] However, Ola Balogun's post-Civil War film, Amadi (1975) was one of the first notable Nigerian historical films on celluloid, which reflected on the Nigerian pre-Civil War days when Nigerians were very united.[4] Balogun subsequently directed Ajani Ogun in 1976, a film which grew to become very popular,[4] and is widely regarded as the first "commercial" Nigerian film, due to its success.[21] Another film released after Ajani Ogun was Bisi – Daughter of the River (1977), which reflected Nigerian culture on film. Other popular films released in this era include: Bull Frog in the Sun (1974), Dinner with the Devil (1975); directed by the duo Sanya Dosunmu and Wole Amele, Ogunde's Aiye (1979), Jaiyesimi (1980), Cry Freedom (1981), and Eddie Ugbomah's The Great Attempt (1989); which was censored upon release, amongst others.[10][11]

Mosebolatan (1985) by Moses Olaiya has been reported as the first Nigerian blockbuster, grossing approximately ₦107,000 (approx. 2015 ₦44.2 million) in five days. Before then, Papa Ajasco (1984) by Wale Adenuga was reported to have made about ₦61,000 (approx. 2015 ₦21.5 million) in three days.[11] The success of films has been attributed to the fact that the faces of actors were already known from the once popular travelling theatre groups and the audiences were already familiar with the stories; Adesanya states that the "involvement of the Yoruba travelling theatre practitioners in motion picture production was perhaps the most auspicious single factor in the evolution of an indigenous cinema in Nigeria"[6] Much later, Hubert Ogunde featured in Bruce Beresford's Mister Johnson (1990). It was the first American film shot on location in Nigeria[22] and was criticized for its ridiculous perception of Africans and dark skinned people as a whole; a perception prevalent with several other western films at the time.[10]

This boost was however not limited to only films, as this era was generally a period when Nigerian entertainment experienced major boost all round; Nigerian music also became popular and prolific during this period.[19] The Nigerian nightlife scene came alive and highlife music was predominant. Musicians who reigned in this era include: Koola Lobitos, The Oriental Brothers, I. K. Dairo, Rex Jim Lawson, E. T. Mensah, and Victor Olaiya.[10] In 1979, the Nigerian Government recognized the importance of film and its relationship to the Nigerian cultural identity; as a result, the Nigerian Film Corporation (NFC) was established; the corporation was created under Shehu Shagari's military regime, as a standalone government agency to help develop the film industry.[17] The agency had the primary responsibility of regulating exhibitions of films, and censoring films shown at the cinemas - a responsibility later transferred to the National Films and Video Censor Board (NFVCB).[11][20]

https://en.wikipedia.org/wiki/Golden_Age_of_Nigerian_Cinema