TIPTOPSTARS

Shocked! That’s how I feel. That Chinua, the giant Achebe has fallen is no sweet news to me and surely to millions of literature lovers and fans of Achebe’s works. If you hesitate to eulogize Chinua Achebe (in writing), then writing is not your passion. It’s hard for any passionate writer to stay mute after learning of the fall of a baobab like Chinua Achebe. I started writing this brief eulogy less than 20 seconds after the picture of the great writer and fallen bombed on my facebook page with a shocking RIP caption underneath. “Oh!, this is unbelievable,” I screamed. This has no doubt been the sudden reaction of others.

My relationship with Achebe dates back to the late 80s when I first read Things Fall Apart. That was the first of Achebe’s novels I was reading, but with a less critical literary mind at the time. I had just started secondary school and found myself falling in love with Literature.

However, my understanding of Chinua Achebe and the wit vested in the writer took off by 1993, when as a High School student in the Cameroon Protestant College, CPC Bali, I had Arrow of God as one of the Literature texts for the GCE Advanced Level examination. We had something like three novels, covering the prose section and my teacher, for some reason, decided to kick off with Arrow of God. That was Lower Sixth.

I don’t vividly recall how long it took my class to complete the text, but I remember I was not at all pleased the day we folded up the novel to take on the next text. The reason was simple – you missed every line in Arrow of God when you finished reading it. Luckily, you could be caught reading the masterpiece again and again, even after completing the text for purposes of exams. I’ll surely go looking for a copy of that novel again.

For one thing, Achebe, in Arrow of God is able to completely situate the reader into his setting. And if you have never been to Africa, you get the real feeling of a typical indigenous and/or community life by just going through the lines in the novel. At one point you feel like you are watching the story on the screen, at another moment, you see yourself being part of it.

I vividly recall how I visualized the colonial days, the black man servant - the White administrators dishing out instructions to traditional authorities - how the custodians were resisting. I could visualize the warring villages - I could see the chief priest – I could see Obika and his wives. Thanks to Achebe descriptive power, I could visualize the story in Arrow of God.

Perhaps, what fed my heart and probably that of others during my Arrow of God High School days was the effectiveness with which Achebe would use African proverbs. “You do not by-pass a man and enter his house” – “A handshake that goes beyond the elbow is considered to be something else”. Irresistible!

You can discuss Achebe’s literature forever. I leave that for literature experts.

Though a Nigerian by birth, Chinua Achebe cannot be narrowed down to one country. He is global. He was (may be not the case today) a popular author among Cameroonian students from the 70s to the mid 90s or so. His novels occupied a comfortable place in the GCE syllabus and they were among some of the stories students would always love, talk about and remember. His stories were most often acted on stage, even when they were prose.

Unfortunately, many of Achebe’s Cameroonian fans never had the opportunity to meet the man behind the big name. I understand as a seasoned professor in African Literature, Achebe sojourned campuses to either give lectures or conferences on invitation. It would have been a big one if he made it to Cameroon. It never happened.

However, some Cameroonian fans of literature with luck shinning on them succeeded in meeting and even talking with the literary hero. A case in point is Dr Joyce Ashuntantang, University lecturer in the US who spoke at length with the fallen intellectual. Their conversation was published in one of the best selling editions of Summit Magazine three years ago.

It is no doubt one of my biggest regrets that I did not meet the man in person, whereas, as I learn, he passed on just at my backyard in Boston, Massachusetts. Achebe was a man to meet, talk with and be talked to by him – and behold you were going to count yourself. Perhaps, that’s the kind of feelings running in Dr Ashuntantang as I write. She was indeed lucky.

That Achebe has passed on is simply sad. We are going to miss him, but his works will stay around for us to keep savouring. Did Achebe nurture others to wear his shoes when he is gone? Sure, he did. Let’s keep his art alive – the art of writing wittily - Chinua, the wise Achebe, write your wisdom, even from the world beyond – your legacy is right here!

March 23 is in the next couple of days and there is growing anxiety among film makers and artists who as the Cameroon Film Industry election approaches. Since the announcement of this administratively serious event by out-going president Waa Musi, there has been a lot of mixed feelings. While some members of the film family are bracing to take full part in the election and perhaps keep the CFI structure in total consolidation, others are simply chilly on it. The latter would prefer a complete overhaul of the manner in which the industry and/or CFI is run. To these folks, the up-coming election of a president is uncalled for – rather, the creation of guilds, which had started should be followed up as the position of president disappears. A lot of ink has flowed on this issue, especially via the CFI-run yahoo forum. There have equally been serious reactions to the interviews we had with the two leading contestants – incumbent and defending Waa Musi and challenging Otia Vitalis. These reactions have not left us indifferent. We then sought to take open up and have a media look on the side of the story that is seemingly raising eyebrows. One of the most vocal film makers in the current issue is Yibain Emile-Aime Chah, popularly known with the industry circles as Ancestor. We sought to know what really the problem is, after scores of reactions he has had, including those to TIPTOPSTARS stories. On the line to Buea, Ancestor spoke with Editor Ernest Kanjo. Excerpts!
Ernest Kanjo (EK): Do you like the idea of a CFI?

Yibain Emile-Aime (YE): CFI as a motion pictures association with a good production code – yes! CFI as a production code administration – yes! CFI with the nature of a Njangi house or a political party, I say No! CFI with a list system of voting, whatever that mean, I say no! CFI which looks just like another production house, I insist, no!
EK: The CFI was created and placed on a philosophy of specialization and professionalism in film making – do you have any quarrel with that?

YE: The CFI was created for that purpose. Yes, I do agree. But a mistake was made on the very first day and I tried to cry foul. It however made no sense to quit a bulk of stakeholders present at St. Therese Molyko Buea that day because excitement was in control. People cared more about positions and not about what was to be the true way forward of the industry. That way forward was going to be the putting in place of a good production code and functional guilds from which competent production code administrators would spring up. This was neglected. Thank God it was only a caretaker committee that managed to do their best, a best that is – I’m afraid, below standards. I cannot attribute this failure entirely to the committee, but I’d also blame it on the fact that we often go childishly excited over serious issues, and when they backfire, we cry foul and prepare ourselves to commit even greater errors. We are always too much in haste. Two words in your question are key Ernest - specialization and professionalism. These exactly are the things that are not encouraged in this kind of CFI that I don’t like. For years, we proposed the organization of workshops that virtually never held. Everybody wants to be everything, and those who don’t want any progress have very strong points they advance each time they are approached. Na we own style or we are still a young industry, we are still growing. For my thirteen years in this film industry, I have heard this over and over again. If we really do want to be professionals, then we have to set high standards and try to meet up with them. If we with adult minds in a so called infant industry keep setting low standards, we would keep shooting lower. Let the clear images that we are obtaining from the new digital inventions like the canons and what have you, not deceive us to think that we are advancing. By default, those equipments are made to yield clarity. But my question is where the cinematography and the art in these images are. Since everyone can afford an EOS Canon, they have automatically become what I would hesitate to mention. In conclusion, for almost five years nothing has been done on specialization and professionalism which are the philosophy on which CFI was created. With the exception of one good idea that popped up in Yaounde, I mean the critique club which unfortunately was not sustained, nothing great really happened within CFI. The critique session however brought about some improvement in filmmaking within that short period of time.

EK: You have been strongly opposed to the idea of a President of CFI who will consequently be President of the film industry, should the March 23 election hold – why?

YE: Yes indeed, I’m even more strongly opposed to the idea of a president. This idea that has become a hot issue and I think is a huge distraction and a complete deviation from the true problems of the CFI. I can state with about 8eighty per cent certainty that anyone in support of this idea of a president at this point in time in the history of CFI is either just an amateur in this motion picture production business, or someone who has not yet grasped the concept, or even someone who understands, but is simply exercising some degree of greed and dishonesty. This stage has been made more fragile by the Caretaker Committee that faced a complicated task in laying down the foundation after we allowed them to be haphazardly picked. The few guilds exist so far and are supposed to furnish the production code administration are in total confusion as I speak now. There is chaos from where some unserious people in the industry are preparing to reap. How on earth can elections be announced when it is fully well understood that structures have not been put in place? Most dangerous of all, a list system is introduced. Hmm! I fear for the industry. If you find a number of the top filmmakers in Yaounde on March 23, I’d have to take credit for working extra hard to convince them of a good reason to be there. They had all taken a decision to go solo as independent filmmakers. We will be in Yaounde for one reason only. Ensure a proper way forward for the industry, by dissolving the committee, and focusing on the text which I would prefer to call a production code than a constitution. How can we even talk of a president when the industry hasn’t got a distributors guild? Si we need a production code and not a president.

EK: How should a film industry be structured by the way?

YE: The essence of an industry is production. Production is for the consumers which in this case is the public – not only the Cameroonian public, but the world at large. The industry needs a production code and independent guilds that have the status of syndicates. Guilds should run themselves and their problems. Competent delegates elected or chosen from the guilds who may not necessarily be guild leaders, worthwhile representatives of the country’s central administration, probably from the Ministry of Arts and Culture, or from the Senate, etc. should be assigned with the administration of the production code hence called the Production Code Administration.   This Production Code Administration ought to ensure uniform, impartial, interpretation and application of the articles of the code. They may choose to elect a spokesperson, a CEO, a President whatever they would want to call it, but whose function will be essentially the exact functions of the Production Code Administration.

EK: Have you tried to talk your opinion out to the people who lead the caretaker committee of CFI – if yes, what has been their response?

YE: I have several times. I had an interesting talk with Mr. Waa recently over this issue. It was at a moment when I was contemplating to follow my colleagues who had already grown so bitter and discouraged about the CFI and completely counted themselves out. I admit every individual has a good and bad side. But that is not at all my focus. The S.G, Chaitoh Collins is my friend and brother, we have had several discussions about CFI. He had realized that many film makers in Buea were more inclined to production and improvement in their skill than the whole CFI politics. He had understood that the clear message we were sending was that that the administration of the CFI could be more effective as a functional and practical body. On the CFI yahoo forum, I have made several attempts to point out our real problems and even proposed solutions to no avail. In January 2011 at the Goteborg International Film Festival in Sweden which if I’m not mistaken should be the fourth biggest film festival in the world, I was one of the two panelists, selected to talk on behalf of up-and-coming African filmmakers. Would I say I naively pitched the case of Cameroon and CFI? As a result I was given scores of industry manuals that could help aspiring producers and directors to solicit for funding at various levels. I filled my bags with books, not buying anything good for myself from Europe, just to come, distribute the books to the producers and directors I met. I am sad to say till today, no one has made use of the material, yet we complain of lack of equipment, sponsors and a market.   Many other people have tried to talk this out but the caretaker committee won’t take them seriously. What about educating members about SCAAP. The copyright corporation?, What about organizing training workshops?. I vividly remember my fellow film maker, Njunkeng George offering to train folks, free-of-charge in editing. But this was never taken seriously.

EK: Recently, Otia Vitalis declared his intensions to run for the presidency of CFI, you reacted soon after reading. Do you maintain what you wrote?

YE: I do maintain what I wrote. This comes back to what I have mentioned earlier. Let the proper stage be set first. I don’t love to see people being victimized. Each person in this industry is a potential co-worker and a friend. I speak my truth and honest feelings to friends even when it may hurt them momentarily. This is for the good of us all. The issues of the industry have not been addressed and I’m very certain that whoever is going in for the presidency has a list prepared with each at least five very influential people with unclear intentions. The stage is not properly set. If we honestly want to take this industry forward, let’s keep this president issue aside and focus on the working text dubbed constitutional amendment and a proper way forward for guilds, highlighting one for distributors.
EK: What would be your next step or decision if the status quo remains and either Waa or Otia are elected – would you just throw in the towel and let go?

YE: What is the use of a ticking clock when the hands of time do not change? All my contributions are built from thirteen years of experience in the industry. I’m not saying they are all right. I’m not saying they must be adopted, I’m simply stating they are words for the wise or food for thought. Incidentally all those who have managed to school themselves properly within the milieus of the seven art share my points of view a great deal, for they as well as I do, understand the stakes. If people end up choosing to use a sandy floor as their plates they will have themselves to blame. My worries are for those genuine aspirants out there who are seeking the chance to be known by the world as great film makers. If the potential industry chooses to be a political party, I will turn to my preferred fishes Indie Filmmaking content myself with it. Indeed, I’ll throw in the towel and let go.

EK: Will you be at the Yaoundé Conference Centre on March 23?

YE: I’m doing everything to be there and give the best contributions I can. I have convinced a lot of valuable audio-visual and motion pictures artists who had declared themselves out and not part of CFI to come in and give the last try, which if this falls on a duck’s back I will join them in wiping the dust off my feet.

EK: What would you be telling the assembly if you go there?

YE: I will see to the existence of the production code and would do my best to make them see why we should not haste, why we should take more time in laying down a good code and form the guilds especially with the distributors’ guild as main focus. I will recommend workshops on film project development, grant writing for all levels film making - from script and development, through pre-production, production, and post production to distribution. The culture of short film production and the re-establishment of the critique club and media reviews.

EK: One last word to CFI

YE: Honesty, the willingness to challenge self, learn more, go beyond limits, self discipline and love for God and for one’s neighbor.

EK: Ancestor I want to thank you for taking off time to talk on this salient issue. See you some other time.

YE: The pleasure is equally mine. Thank you so much Ernest for the concern you’ve always shown to this industry and thumps up to TIPTOPSTARS.

Otia Vitalis, one of Cameroon’s leading elderly actors has said he will be challenging incumbent Waa Musi at the Cameroon Film Industry, CFI election billed for March 23 in Yaounde. At the time Otia, who lives and works in Yaounde was breaking the news to us, he was about to deposit his file at the electoral commission which for convenience sake, we would like to refer to as the Fai Commission.

According to the actor who has just done his 25th movie, it is time to reverse things and get the Cameroonian film landscape on the right lane. “Many people came up, asking me to run. I gave it a thought and felt that it was for the good of the industry if I rose to the helm,” Otia told TIPTOPSTARS. “I think I have a lot to offer to this industry that has been very dormant since I joined – I’m talking about the policies and getting stakeholders on the same table,” he went further.

Also talking to us from Yaounde Thursday, Otia who is one of the lead actors in Troubled Kingdom (just reviewed) directed by Neba Lawrence said the industry has for long been suffocated by a one-man show game, referring to the out-going CFI president and it was time he came up and re-direct the vision. Otia said: “I’m coming to create a platform whereby, stakeholders can express themselves freely, and together we can draw up a scale of preference and begin from there. Everybody should be useful.”

On a serious note, Otia insisted that he is coming in to wipe the erroneously wild impression that the film career is meant for idle drop-outs whereas it is noble, respectable and clean profession. “A good example is myself, people know me, they know what I do and doing movies does not change me from what they know about me. So why should some people think the film career is an irresponsible one?’’ he questioned rhetorically.

The CFI hopeful told TIPTOPSTARS editor that his list comprises of 12 members. “We’re already putting up specialized commission that will get more people to work,” Otia revealed. And added: “This will be revealed as soon as we come out victorious.”

To the actor who has also featured in two TV series and two TV adverts, he favours a one-term mandate in a bid to enable other come up with their own ideas and vision.

It is not yet clear if out-going president, Waa Musi will run for the March 23 election. At least, he has not officially told TIPTOPSTARS. So far, Otia Vitalis is the only hopeful who has announced his intension to run to us.

Meanwhile, there have been dissenting voices within the Cameroon Film Industry over the issue of electing a president of a film industry which to some, is unacceptable. To them, the presidents of the various guilds should make up the helm of the industry. The CFI was created in June 2008 to lift the Cameroonian film movement to higher heights by instilling specialization and professionalism

As we write, Merlisa Determined, the USA-Nollywood actress starring in Pink Poison Reloaded is being ferried to Limbe, from the Douala International Airport where she landed a couple of hours ago. Merlisa touched Cameroonian soil at about 1pm local time. Before leaving her Texas base, the lead actress spoke with Editor Ernest Kanjo. “Anticipation is high and as you already know Ernest this is the first of my many projects to be shot in Cameroon and other countries. As an international actress I’m ready to do more collaboration and share my talent overseas with other talented actors,” she said. What should your Cameroonian colleagues expect of you?
“All I can say is that I’m an actor who is dedicated to her craft and loves what she does. However, I enjoy learning and sharing different idea with other actors,” Merlisa replied. The movie queen who impressed her crew at the Maryland shoot for the USA scenes recently, holds the project at a very high esteem and she mentions it all the time. To Merlisa, this is a serious project and it requires seriousness, reason why she is determined to put in her utmost best. But what does she promise her producers? Merlisa told us: “I’m not sure when you’ll be publishing these views, but I promise to arrive in Cameroon on time, quite ready to work. Producer Mercy Etta reached out to express how excited she is about my travelling to Cameroon to complete this movie. All I can do is put my best foot forward, keep the energy level high and have good results.”

It should be noted that Merlisa Determined has amassed a wealth of experience shooting internationally, including a movie she just did with Hollywood’s Clifton Powell. She is also laureate of several film awards. TIPTOPSTARS will be trailing her as she shoots in Cameroon.

Meanwhile, Pink Poison Reloaded is a Cameroonian movie in the making, co-produced by AGE Productions and Cradle Rocks Productions International, CRPI.