Omoni Oboli’s “Love In Every Word”: A Misrepresentation of Igbo Men and Their Culture

Omoni Oboli’s “Love In Every Word”: A Misrepresentation of Igbo Men and Their Culture

Opinion Post by Chukwuma Ndioguluo:

Omoni Oboli, a talented movie producer from Edo State, recently released a film titled “Love In Every Word, which attempts to portray the romantic dynamics of an Igbo man. However, the movie falls short of accurately representing Igbo culture and the traditional values of an Igbo man, particularly the concept of an *Odogwu* (a respected, wealthy, and influential man in Igbo society).

In the movie, the Igbo male lead, played by Uzor Arukwe, closes his bank account to win the heart of a woman he loves. This portrayal is not only inaccurate but also a misrepresentation of how an *Odogwu* from Igboland approaches love and relationships. In Igbo culture, an *Odogwu* is a man of substance, wisdom, and pride. He does not diminish himself or his wealth to win a woman’s affection. Instead, he often disguises his true status, presenting himself as a modest individual—perhaps a single shop owner in Onitsha Main Market—while secretly owning multiple businesses.

The intention behind this approach is to test the woman’s character and ensure she is not motivated by his wealth. An *Odogwu* seeks an *Odozi Aku*—a woman who is wise, resourceful, and capable of managing his wealth and household. Only when she proves her genuine love and loyalty does he reveal his true status and introduce her to his family as the woman he intends to marry. This is the Igbo way, and it reflects the depth of cultural values that prioritize character over materialism.

It is disappointing to see how Omoni Oboli imported a Benin man’s lifestyle into a movie that was supposed to showcase Igbo culture. The portrayal of the Igbo man in *Love In Every Word* is far from the reality of how an *Odogwu* loves and respects his woman. The only plausible explanation for this misrepresentation is that the character is an Igbo man who has lived outside Igboland for too long and has been influenced by the cultures of his host community.

Another glaring inaccuracy in the movie is the use of the term *“Onye Nwem”* (meaning “the one who owns me”) by the male lead to address his love interest. This is a complete distortion of Igbo cultural norms. In Igbo tradition, *“Onye Nwem”* is a term of endearment used by a wife to address her husband, not the other way around. It signifies the man’s role as the head of the household and the woman’s respect and submission to him. When a wife calls her husband *“Onye Nwem”* and shows him respect, he is compelled to love her genuinely and entrust her with the management of his wealth, earning her the title *“Ori Aku”* (the one who enjoys his wealth).

The fact that Uzor Arukwe, an Igbo actor, addressed Bambam, a Yoruba actress, as *“Onye Nwem”* in the movie is a clear indication that Omoni Oboli knew exactly what she was doing. If Bambam were an Igbo actress, I believe she would have rejected such a term, no matter how sweet it sounded, because it goes against the cultural norms passed down by our foremothers.

Omoni Oboli may have had good intentions with *Love In Every Word*, but the execution missed the mark. The movie fails to tell the true story of how Igbo men love their women and instead presents a distorted version of Igbo culture. I hope that an Igbo movie producer will one day rewrite and reproduce this story, showcasing the authentic and dignified way an *Odogwu* from Igboland loves and respects his woman.

Igbo culture is rich, profound, and deeply rooted in values that deserve accurate representation in Nollywood. Let us tell our stories the right way, preserving the integrity of our traditions for future generations.

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Nigerian Film Industry in Focus: Ishanqueen’s Perspective on Ramsey Nouah’s Performance

Nigerian Film Industry in Focus: Ishanqueen’s Perspective on Ramsey Nouah’s Performance

 

Recently, Ramsey Nouah,a popular legengary thespian/actor celebrated his birthday but as a popular individual, lots are being said about hus acting prowess and Mavis took this to a new level. In a thought-provoking commentary on the acting talents within the Nigerian film industry, Mavis Ishanqueen has ignited discussions surrounding the performances of renowned actor Ramsey Nouah.

In her recent piece reflecting on the achievements of Majid Michel, Ishanqueen candidly discussed what she perceives as a potential limitation in Nouah’s acting repertoire – his accent. She highlighted how this aspect may have constrained his ability to fully immerse himself in certain roles, thus sparking accusations of shading from some quarters.

Clarifying her stance, Ishanqueen emphasized that her intention was not to cast aspersions but to provide constructive criticism. She emphasized the importance of offering feedback that fosters growth and improvement, a sentiment often overlooked in artistic evaluations.

Drawing from Nouah’s background, Ishanqueen shed light on his upbringing in Lagos, where despite being born to a Lebanese father and Nigerian mother, but Contrary to prevailing opinions, Ishanqueen challenged the notion that Nouah was superior to Michel in terms of acting prowess. She argued that true mastery of the craft lies in the ability to convincingly embody a diverse range of characters, a feat she believes Nouah fell short of achieving due to typecasting.

Expressing concern over the Nigerian film industry’s tendency to prioritize commercial success over artistic merit, Ishanqueen cautioned against perpetuating stagnant storylines and applauding mediocrity. She called for a reevaluation of standards and a commitment to nurturing talent that pushes boundaries and challenges conventions.

In closing, Ishanqueen reaffirmed her commitment to promoting excellence within the industry, despite the controversy her analysis may have sparked. She urged stakeholders to embrace constructive criticism as a catalyst for positive change and innovation, ensuring that Nigerian cinema continues to evolve and captivate audiences worldwide.

 

Anthony Emeka Nwosu

 

 

Drawing from Nouah’s background, Ishanqueen shed light on his upbringing in Lagos, where despite being born to a Lebanese father and Nigerian mother, but Contrary to prevailing opinions, Ishanqueen challenged the notion that Nouah was superior to Michel in terms of acting prowess. She argued that true mastery of the craft lies in the ability to convincingly embody a diverse range of characters, a feat she believes Nouah fell short of achieving due to typecasting.

A Comparative Analysis: Zubby  vs. Timini in Nigerian Cinema

A Comparative Analysis: Zubby  vs. Timini in Nigerian Cinema

When it comes to the world of Nigerian cinema, the names Zubby Micheal and Timini Egbuson often spark debates among enthusiasts. As someone who doesn’t necessarily consider themselves a movie buff, especially in the realm of Nigerian films, it’s important to acknowledge and respect the opinions of passionate movie lovers and critics. However, my preferences tend to lean towards lighter, comedic undertones rather than serious dramas.

Zubby Micheal embodies the essence of comedic relief with a hint of hardliner and machismo. His performances resonate with audiences seeking entertainment laced with humor and a touch of street-smart charm. For someone like me who enjoys films with a lighter tone, Zubby’s portrayal fits the bill perfectly.

On the other hand, Timini Egbuson delivers performances that are equally captivating. His talent shines through in various roles, showcasing his versatility and depth as an actor. While Zubby may cater more to the unrefined and street-oriented demographic, Timini appeals to a broader audience with his nuanced portrayals.

Both actors boast a loyal fan base, each attracting different demographics. Zubby’s fanbase tends to skew towards a more masculine audience, drawn to his rugged charm and comedic flair. In contrast, Timini’s appeal extends to a wider spectrum, garnering admiration from both male and female viewers alike.

Drawing a comparison between Zubby Micheal and Timini Egbuson is akin to offering a football and a teddy bear to male and female twins. Just as natural instincts would dictate their preferences, audiences gravitate towards the actor whose persona resonates with them on a deeper level.

In this analogy, Zubby Micheal embodies the football – bold, energetic, and appealing to a more masculine audience. Meanwhile, Timini Egbuson represents the teddy bear – charming, versatile, and embraced by a broader demographic, particularly the female audience.

Ultimately, the choice between Zubby Micheal and Timini Egbuson boils down to personal preferences and natural instincts. While both actors bring their unique flair to the screen, it’s their ability to connect with audiences on an emotional level that sets them apart in the realm of Nigerian cinema.

Kelly Hassino