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COLLATERAL BEAUTY

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Ndi kem? My people? Kedu? You know that time between Christmas and New Year where you don’t know what day it is, who you are or what you are meant to be doing??? I keep asking my siblings is today 25th or 26th? 29th or 30th? Sigh.

Continue reading “COLLATERAL BEAUTY”

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HIDING FROM OUR PAST : Chimamanda Ngozi Adichie

a scene from the movie
a scene from the movie

Before i put down the main article, let me tell you guys what happened last week Saturday…

“I woke up from the right side of my bed but ended my day on the left side. It was was 6a.m in the morning when i picked up my  phone and went to the Silverbird Cinemas website to check the movie listings for the day. I mean, I was more than sure HALF OF A YELLOW SUN was going to be there. I searched the site a million times and didn’t see anything, i was taken aback because the movie fans in Nigeria were practically waiting for April 25th/26th, the premiere date..  To cut the long story short, a friend of mine told me the movie premiere had been cancelled…I WAS SO SAD… But I’m not hear to discuss how i feel about the whole issue…. This is what Chimamanda, the author of the priceless book from which the movie was adapted has to say :

 

On the margins of my happy childhood, there was a shadow: the Biafran war. I was born seven years after it ended, and did not experience any material deprivations—I had a bicycle, dolls, books—but my family was scarred by it. In 1967, after massacres in northern Nigeria that targeted southeastern Igbo people, the southeast seceded and formed an independent nation called Biafra. Nigeria went to war to prevent the secession. By the time that Biafra was defeated, in 1970, at least a million people were dead, including my grandfathers—proud, titled Igbo men who were buried in the unmarked graves of refugee camps. My parents lost other relatives, and everything they owned. A generation was robbed of its innocence. The war was the seminal event in Nigeria’s modern history, but I learned little about it in school. “Biafra” was wrapped in mystery. At home, my parents spoke of it rarely and obliquely; I heard many stories about my grandfathers’ wisdom and humor, but few stories about how they had died.

I became haunted by history. I spent years researching and writing “Half of a Yellow Sun,” a novel about human relationships during the war, centered on a young, privileged woman and her professor lover. It was a deeply personal project based on interviews with family members who were generous enough to mine their pain, yet I knew that it would, for many Nigerians of my generation, be as much history as literature. In 2006, my publisher and I were braced for the Nigerian publication, unsure of how it would be received. We were pleasantly surprised: “Half of a Yellow Sun” became one of the best-selling Nigerian novels published in the past fifty years. It cut across different ethnic groups, started conversations, served as a catalyst for previously untold stories. I was heartened to hear from readers whose families had survived Biafra and those whose families had been on the Nigerian side.

But the Biafran war is still wrapped in a formal silence. There are no major memorials, and it is hardly taught in schools. This week, Nigerian government censors delayed the release of the film adaptation of “Half of a Yellow Sun” because, according to them, it might incite violence in the country; at issue in particular is a scene based on a historically documented massacre at a northern Nigerian airport. It is now up to the State Security Service to make a decision. The distributors, keen to release the film before it is engulfed in piracy, are hoping that the final arbiters of Nigerian security will approve its release. I find this absurd—security operatives, uniformed and alert, gathered in a room watching a romantic film—but the censors’ action is more disappointing than surprising, because it is part of a larger Nigerian political culture that is steeped in denial, in looking away.

Partly the result of an unexamined past and partly of the trauma of years of military dictatorship, a sustained and often unnecessary sense of secrecy is the norm in Nigerian public life. We talk often of the “sensitivity” of issues as a justification for a lack of transparency. Conspiracy theories thrive. Soldiers are hostile to video cameras in public. Officials who were yesterday known as thieves are widely celebrated today. It is not unusual to hear Nigerians speak of “moving forward,” as though it might be possible merely to wish away the unpleasant past.

The censors’ action is a knee-jerk political response, yet there is a sense in which it is not entirely unreasonable. Nigeria is on edge, with upcoming elections that will be fiercely contested, religion and ethnicity increasingly politicized, and Boko Haram committing mass murders and abductions. In a political culture already averse to openness, this might seem a particularly appropriate time for censorship.

But we cannot hide from our history. Many of Nigeria’s present problems are, arguably, consequences of an ahistorical culture. As a child, I sometimes found rusted bullets in our garden, reminders of how recent the war had been. My parents are still unable to talk in detail about certain war experiences. The past is present, and we are better off acknowledging it and, hopefully, learning from it.

It is sadly easy, in light of the censors’ action, to overlook the aesthetic success of the film. Its real triumph is not in its politics but in its art. The war is the background to the complicated romance of characters played by Chiwetel Ejiofor and Thandie Newton, both of whom give the most complex performances of their careers. As a flawed professor, Ejiofor is finally freed from the nobility that was central, and limiting, to his past major roles. Here, his range is breathtaking. Newton brings a nuanced blend of strength and vulnerability to a character for whom she eschews the vanity of a beautiful movie star. On the screen, their chemistry breathes. Cinema, Susan Sontag once wrote, began in wonder, the wonder that reality can be transcribed with such immediacy. Director Biyi Bandele’s eye is awash with magic, but also with a kind of nostalgia, a muted love, a looking back at a country to which this film is both a love letter and a rebuke.

Nigerians are sophisticated consumers of culture and, had the censorship board not politicized the film by delaying its release, I suspect that few people would have objected to it at all.

 

My dad is constantly full of stories of the war, stories that always leave me intrigued. I keep articles and scraps i lay my hands on, as long as it concerns the war. I remember reading the book ‘half of a yellow sun’, and wondering what it would be like if it were made into a movie. I wrote the names of all the characters and paired them up with the actors/actresses i felt would play the part well, this i did in 2006. Now you can imagine how elated i felt when i heard the book was finally being turned into a movie.

I waited impatiently for the date set for the premiere of this beautiful movie. However when the said date came, some forces in the name of censorship board made it impossible for the movie to be shown. This is a movie nobody should have objected to. I for one do not see why some bunch of people would use censorship as an excuse to prevent young people from knowing their history…….

 

Our story must be told…..

1480679_10152038833022631_1038954923_nPAUL WALKER

Rest In Peace Paul… i was a big fan…

Fast and Furious 6 (ending prayer)

Father thank you, for the gathering of friends.
Father we give thanks for all choices we have made, cause that’s what makes us who we are.
Let us forever cherish the loved one we have lost along the way.
Thank you for the little angle, the newest addition to our family.
Thank you for bringing ‘Letty’ home, and most of all…

THANK YOU FOR FAST CARS!

HAPPY BIRTHDAY TYLER PERRY

This morning, my friend greeted me with a PING. It went thus, “Today is your husband’s birthday” and I’m like, “Husband?!” .. Still trying to figure out, I thought about my so many imaginary husbands (you can’t blame me please) .. Leonardo DiCaprio, Ian Somerhalder (The Vampire) , David Beckham , Chad Michael Murray, Tyler Perry etc… So I asked her who’s birthday and she said “Tyler Perry!!!!!!!!!” .. And I’m like WOW, how can I forget *winks* (sobs, if only Tyler Perry knew me one on one, if only he knows I’m a very “devoted” fan) .

Anyways, I’m sure you all know Tyler Perry.. *In-MadeasVoice* : He’s good, He loves the Lord, He inspires thousand with his movies. Shout, Halleyurrrr!!!! 😀

Tyler Perry is just more than a movie maker, a director, producer. He’s a Minister. You get the message in all his movies even when you can’t stop laughing at the one and only Madea. He’s such a raw talent, the way he combines the roles of Madea, tyler and Uncle Joe. I wonder!!

He was born on the 13th of September, 1969. He has produced many stage dramas and movies, Forbes actually named him the highest paid man in entertainment. (Now, that’s so cool).
He’s has gone through so many difficult times, and he’s still standing strong. He is just too good.. All his movies have Christian themes that promote values such as forgiveness, love, Unity and what have you?!. I always feel refreshed when I see one of his movies.
His first movie I saw was “Madea’s Big Happy Family” and I got addicted and since then I’ve always bought his collections and any of his movies I can lay my hands on.

His Movies :

1) Daddy’s Little Girls
2) Diary of A Mad Black Woman.
3) Why did I get married.
4) Temptation
5) Meet the Browns.
6) Star Trek
7) Alex Cross
8) For Coloured Girls
9) Good Deeds
10) Tyler Perry Presents Pepples
11) A Madea Christmas
12) I can do Bad all by my self.

ETC… *Tired of listing* 😀

Meanwhile, I just decided to put down some of MADEA’s popular quotes….!!!

*** “People gonna talk about you till the day you die…Cant do nothing about it..but let ’em talk!” *

*** just stay right where you at. Just plant your ass right there in that chair. Every time I come here, you sittin’ in that chair. People waitin’ on their cars, you sittin’ in that chair. You supposed to be changin’ the oil, you sittin’ in that chair. Supposed to be changin’ the windshield wiper blades, you sittin’ in that chair. Supposed to wash the car, you sittin’ in that chair. Let me tell you something: when you die, tell them people to bury you on your stomach to give your ass a break! * (ROFL) (MADEA’S BIG HAPPY FAMILY).

** Madea: See, y’all Christians is somethin’… y’all go pull out that Bible, but y’all don’t know which prescripture to use for which situation. You got to find the right prescripture. There’s a prescripture that says, ‘Let the redeemed of the Lord say so.’ Have you been redeemed by the Lord?

Shirley: Yes.

Madea: That’s right, so if you’ve been redeemed by the Lord, and somebody does something to you that you don’t like, even yo’ kids, you can beat the hell outta them and just say, ‘So?’ So that’s what I’m’a do. I’m’a beat the hell outta them and say, ‘So?’ And I’m’a bring them over here ’cause you’ve been redeemed, aight. It makes perfect sense, don’t it? Halleluyer! Halleluyer! (MADEA’S BIG HAPPY FAMILY).

** You’re gonna wish that sperm did a backstroke when it met the egg that made you.

Hahahahah!!! Happy Birthday !!

Thanks To ASUU, I’m Bored out of my mind, so I decided to post this… 🙂

**ADRIELNALINE**

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