Prince Jide Kosoko, of Kosoko Royal Family of Lagos
chronicles the history of film productions in Nigeria, his family, and the art
of acting.
Nollywood is more
than 20 years old as against what people think. They make reference to Living
in Bondage (1992) which was not the
pioneer film in Nigeria. I produced Asiri nla that same year. Film production in Nigeria
started in the 60s but most of the films were documentaries.
Professor Wole
Soyinka produced Kongi Harvest which did not have a commercial viability then. Commercialised
film-making in Nigeria started in 1976 with Ajani Ogun produced by Dr. Ola Balogun . This film experimented on the already existing
Yoruba theater created by the likes of Herbert Ogunde, Baba Sala, Duro Ladipo,
Kolawole Ogunmola , Ogungbe, etc. who were as at that time,acting on stage.
Ajani Ogun was
in celluloid and that was the first film that started the revolution of
film-making in Nigeria. Other films like Ija Ominira, Aiye, etc. also followed suit.
The process of
film production could not be completed in Nigeria because our laboratories
lacked the equipment needed for the post production, so many producers had to
travel abroad. In 1985 when the economic Structural Adjustment Programme of the
country started, many film producers could not make enough money to travel
abroad for the post production of films. Along the line, Alade Aromire broke
the jinx and produced a film using a video projector. Although the production
was of low quality, it recorded a huge success like the celluloid.
After this, I
produced Asiri Nla and
Adebayo Salami produced Asewo to re meka in 1992 to improve on the low quality. Tunde
Kelani followed with Ti oluwa nile. And that started the second revolution, improving on what was on ground.
In the late 90s the third revolution started. Living in Bondage by Kenneth Nnebue & Okechukwu Ogunjiofor
started the incursion of other tribes into the industry.
Kenneth Nnebue had
produced Aje niya mi and
other films for NEK Videos before Living in Bondage. Living in Bondage did have its impact on the Nigeria film
industry, in terms of equipment, post production etc., but can never be a point
of reference when thinking about when Nollywood came into existence.
I started acting
professionally in 1964 at age 10. But I starred in a professional production
which was even before film production. My parents were not happy with my choice
of career just like other parents. But I was rascally as a child. I engaged in
things that many of my mates never could dare. My parents felt I was to be
entertained as a royal prince and not the other way round.
One film doesn’t
bring an actor to limelight rather continuity does. When people see a
particular face in good productions, they will note the face and as time goes
on, they will reckon with the face. And that is how the fame comes. That is why
I detest some of my colleagues who believe they can turn one actor to a
celebrity overnight. A continuous process of quality film productions brought
me to limelight.
.
The moment you
become a public figure, your life becomes other people’s business. You have to
pretend to be a gentleman even when you are a rascal. We learn to stage-manage
our lives even when we are not on set. Many of us have learnt to live a fake
life to suit and keep our fans, people who see us as role models.
I never envisaged
being a polygamist though I am a product of one. My parents didn’t support it
too. My first wife was a business woman. I craved for somebody who was in the
same field with me. In those days, the best advice you got was from your better
half and that was how the second woman came to be. Along the line, I lost the
two to childbirths within 11 months interval.
I had seven
children as at that time, so I didn't plan remarrying or having more children
again. But after much persuasion from my doctor and relatives, I decided to
have a woman with the agreement of not having more children but a complete
African woman will not agree to that. One thing led to the other and I got two
women again. So being a polygamist was not intentional but God’s design over
which I do not have power.
