Oscar Labang
Introduction
What is Cameroon Movie?
The first and most important issue to those in the world of criticism is: what is the definition of Cameroon Movie. Cameroon movies cannot be defined as movies that tell Cameroonian stories and sell Cameroonian culture as presented by Nigerians. For those of us who have watched some Cameroonian Movies in French, have we seen any other French Africans intruding into the sphere? Why is it that only the English speaking part would want to infiltrate Nigeria into the sphere? I have always believed that the coming of Europeans to Africa disrupted the natural course of African development and has left Africa confused on what path to take. Similarly, Nigerian infiltration in our movie industry will distort the reality of our creativity and would leave us unable to move forward without them. The question of definition is a very cardinal one because it determines who we are, who tells our stories, who produce the stories etc. It is important to note here that the culture of the actor and the producer are bound to affect the story in favour of their cultural life thereby tainting our culture. What does a film represent? It represents our culture. It tells our story in our own way. I therefore do not see any reason why we should bring in different people to tell our story for us. This is an escapist attitude. Let Cameroonians tell Cameroonian stories no matter how bad they may look, they will definitely improve over time.
Stifling Young Talent
Another consequence of the intrusion of Nigerians in the Cameroonian film making is that it will stifle and eventually kill Cameroonian talents. This phenomenon will lead to blind copying of Nigerian models which is an attitude that is already too visible in many of our films. Cameroonian movie makers need to take a perspectoral distance and try to establish the identity of the movie industry without copy-catting after Nigeria. We are giving the wrong impression that Nigeria sets the fashion trend in Africa. Cameroon has great potential but the lack of resource and the fear of engaging leave many of us wanting. By depending on foreign talent, most Cameroonian film makers tend to neglect and kill the talents of the Cameroonian actors.
Directorial Impotency
The importation of foreign talent to tell Cameroonian stories is a clear indication of directorial incapacitation and lack of creative verve and dynamism. My argument here is that directors who depend on Nigerian talents to make good movies, are those who themselves are deficient in their ability and capability to produce quality. When a director cannot develop new talent to a point of greatness, the only alternative left is to turn to readymade talent from Nigeria. Like everything that is readymade, these talents tend to be costly and more demanding and even more problematic to handle. Those who pay the price in such situations are the Cameroonian talent who sometimes end up being bullied and not being paid because of budgetary constraints. The impression that such filmmakers are creating is that Cameroonian talent is not ripe enough for the screen. The contrary I true. The filmmakers lack the creative and directorial potential to cultivate and groom their own talent to deliver the desired outcome. Consequently, they simply rely on readymade talent. I always compare the great director to a great achu maker. Great directors are like great achu makers – they do not depend on the type of mortar but on their own potential to collaborate with any type of mortar to make smooth achu.
Preferential Treatment
Another major crisis that results from the introduction of foreign film stars in Cameroonian movies is that the foreign stars are given the best working conditions, greater pay and the greater part of the pay. Sometimes Cameroonian actors are not even paid because Nigerian stars have been over paid and lodged. This logically means that the presence of these foreign actors either directly or indirectly increases the cost of production for a movie industry that is barely trying to gain its feet and still suffering from chronic lack of sponsorship. This venture therefore rather slows down the industry, than giving it the push it ought to give. The argument to some people is that one should believe in oneself, Cameroonian film makers should belief first in themselves and then in Cameroonian talents. The Nigerian actors and actresses started from somewhere and today they are stars. Filmmakers in Cameroon should learn to face these challenges, learn to groom stars and it will not be long there will be an available market of stars in Cameroon. Instead of allowing foreign actors to do it for us, let us imitate the example from them in order to grow.
Will the Movie Sell?
Many people in the film industry find themselves in a position of in-betweenity. From one perspective that of the actor, they do not want Nigerian actors in Cameroonian movies, yet from another – that of filmmakers, they think that it indispensable to have Nigerian actors. As actors, they are against Nigerian actors taking roles that would have otherwise been given to Cameroonian actors. But as producers, they think that if they have Nigerian stars in their movies they movies will sell better. This excuse is the lamest and unreliable idea because a movie does not sell based on who the actors are. If the movie is good it will sell with or without Nigerian stars. Some people argue that many home video lovers prefer to rent or buy a movie only after recognizing a star on the movie casing. This may have some validity but it is important to note that what sells better is not necessarily the star but the story and the production. A good story and good production may not attract immediate attention but once a few people watch it the story will be told and either that movie or another one by the same producer will receive favourable feedback.
Let me use this simple example, when I was a young boy we used to sneak into Video Clubs to watch movies (sometimes we will watch just the preview “supporting” and then go out and tell the rest of the story) which we dominantly Hollywood or Bollywood. The movie stars that we knew were Ramboo (Sylvester Stallone) and Jackie Chen and we had their posters on our walls. The question therefore is: how did Nollywood movies find themselves in the circle; how did Ukwa or Pete Udochie replace Ramboo, how did Genevieve Nanje replace the favourite Snake Girl of Bollywood movies? All I remember is that I moved from listening to Gregory and Jegede Sokoya (Nigerian comedians) to watching Isakaba and then Billionaire Club and then I was won over by Teko Benson’s directorial potency, and when I turned around everybody was going crazy about Nollywood movies. Now, like me, many Cameroonians are tied of the boring repetitive pattern of Nollywood movies and invasion of Nollywood filmmaking by nincompoops. The question that remains to be answered is: who will win me and the multitude over? This example is meant to show that the defining issue is not the star that is already known; if it were Pete Edochie or Zack Orji would not have replaced Sylvester Stallone or John Travolta in the Video Clubs. The issue is not even the supremacy of quality; if it were Nollywood movies would not have replaced Bollywood and Hollywood movies. The issues are the story: whose story it is, who tells the story and how it is told. Importing Nigerian talent destroys the story.
Unemployment
The above consequences are related to the movie industry. On a more general scale, we have consequences such as unemployment and cultural misrepresentation. The film industry is a potential source of employment for many young talents. Sources show that Nollywood is a $500-million industry and the second major employer in Nigeria. The importation of Bollywood actors in Cameroon from an economic perspective is the importation of labour from abroad. The irony here is that while western nations are importing cheap labour to reduce cost of production and increase profitability, Cameroon movie industry is importing expensive labour, which is dangerous in a strict economic sense. The importation of such labour results in the less use of Cameroonian talent and therefore a cause of unemployment. The jobs of actors, directors, photographers, editors etc. which are exported to Nigeria or which Nigerians are imported to come and do, are jobs that could be done by Cameroonians. Filmmaking is a great way of curbing unemployment and contributing to national growth because unlike other job possibilities that may need just a handful of people, filmmaking needs several people at different levels to be able to accomplish the task in a professional way.
Conclusion
The central issue in Cameroon movies should be to raise the inexperienced talent in the industry to a point where they can be recognized. But the deed is that the Nigerian stars steal the show and at the end, no one cares who was who. Consequently, no star, and the movie gets lost in the filmography of the star that starred. The question however is who taught the Nigerians to act and be what they are today? Dependence never gets street respect. Not only dependence on foreign stars, dependence on their story lines and memo lines and intrigues and style. Ghanaians got that street respect on their own; so did Nigerians. If we keep suckling at the breasts of Nollywood and keep looking at Nigerians with awed admiration, we forget to build or improve our talent.
We have our own love stories that are similar to Nigerian ones, but if we tell them the Cameroonian way, we will definitely have a place. I regrettably never watched Cameroonian movies with Nigerian presence after the lunching. This is because as in the case of the above picture, I already know Olu, Dakore, Orji and Amata too well and i like them in the context in which I know them. I have never really reconciled my imagination seeing Zack in Bamenda regalia and Orji in Sawa style. They both appear to fake for me to give the movie any punch of greatness. If you look at the image of the CD Cases you can see the difference. In Bih Kaba, you notice three young energetic and ready to be used stars towering above His Royal Highness Fon Angwafor and Bruno. What a great posture – two elderly people carrying the young over their shoulders, saying ‘this industry belong in your hands’. On the second one Before the Sun Rise, you notice that it has three giant Nigerian faces above one sorry-looking Cameroonian attached below them. You see the position of Namme on that cover that is the position the Cameroon movie industry will forever have if we keep bringing in Nigerians to act our stories for us.