Nigerian online communities are not excited, and neither am I because I feel that my cultural identity is about to be stolen.
There has been pronounced skepticism over A24’s upcoming TV series adaptation of Chinua Achebe’s timeless classic, “Things Fall Apart” and despite A24’s reputation for producing critically acclaimed shows like Euphoria, and distributing acclaimed films like Everything Everywhere All at Once and Past Lives, many Nigerians are hesitant about the project.
Idris Elba’s casting as Okonkwo, the iconic protagonist of Chinua Achebe’s Things Fall Apart, has sparked intense debate. Born in Britain to Ghanaian and Sierra Leonean parents, Elba’s disconnection from Nigeria’s Igbo culture has raised questions about authenticity. Will his portrayal do justice to the complex, colonial-era experiences of southeastern Nigeria’s Igbo people?
This is not the first time Things Fall Apart will be adapted for the screen. In 1971, German filmmaker Jason Pohland directed a film of the same title, but it was only recently rediscovered after being lost for decades. More notably, during the golden era of Nigerian television in the 1980s, the iconic Pete Edochie starred as Okonkwo in a hugely successful miniseries of the same title, which was broadcast around Nigeria by the Nigerian Television Authority.
While this new adaptation offers a global reach and appreciation for Nigeria’s history, ignoring this flaw will only result in an underwhelming production. Some of the immediate reactions to Elba starring as Okonkwo have centred on the plain fact that he’ll need to play his role with a rich Igbo accent, which may have already reduced the series’ authenticity.
A quick history lesson of Nigerian book adaptations
There is a saying that “Those who fail to learn from history are doomed to repeat it,” and I couldn’t agree more. Let’s take a look at some adaptations of books by Nigerian authors into film:
“Half Of A Yellow Sun”
A quick look at the adaptation of Chimamanda Ngozi Adichie’s novel “Half of a Yellow Sun,” released in 2013, is enough to learn from. Directed by Biyi Bandele, the movie starred Thandie Newton, Chiwetel Ejiofor, and Anika Noni Rose, and while they were excellent actors, the movie lacked authenticity.
Set during Nigeria’s Biafran War, the story follows the twin sisters “Olanna” (Newton) and “Kainene” (Rose) experiences. While the actors put their best foot forward, there is no dismissing the fact that they were “Americanised” which is a huge contrast to the book. From their poor Igbo accents to their inability to truly convey emotions attached to the woes of the Biafran era.
“Beasts of No Nation”
Another novel adaptation is Beasts of No Nation written by Uzodinma Iweala. The movie, which Cary Joji Fukunaga directed, tells the story of Agu, a young boy from a fictional West African country who is forced to join a group of child soldiers after his family is killed in a civil war. Agu navigates the harsh realities of war, struggles with his own morality, and grapples with the consequences of his actions.
From the appalling differences between the book and the movie, such as the omission of the commandant’s history and the marginalisation of female characters, particularly Agu’s mother, to the negative stereotypes about Africa perpetuating Western notions of the continent, the adaptation lacked authenticity.
Interestingly, Idris Elba plays a lead role in the movie, starring as the “Commandant” and delivering an applaudable performance, but between his forced accent and his character’s focus on his looks, capturing the authenticity of African war combatants proved tasking. Concerns also arose that the film profited from the suffering of child soldiers without adequately addressing the root causes.
Analysing the success of these movies as standalone is more lenient than analysing their success regarding the novels. As a fierce lover of African stories, I was left unfulfilled by these movies as they failed to meet the depth and richness contained in the novels.
Should the adaptation of Nigerian books by foreign producers be stopped?
The debate surrounding foreign adaptations of Nigerian books into films is contentious. On one hand, international productions can introduce Nigerian literature to a broader audience, fostering global understanding and appreciation. Financial resources from abroad can also enable high-quality productions.
However, concerns about authenticity and cultural appropriation linger. Foreign casts and crews keep struggling to represent Nigerian culture, potentially perpetuating stereotypes or misrepresentations accurately. To reiterate, Idris Elba is not Igbo or Nigerian and is known for his rich British accent. Both qualities already beg the question, What authenticity can he bring to “Okonkwo?”
To navigate these challenges, collaborative productions offer a promising solution. Partnering Nigerian filmmakers with international producers ensures authentic storytelling and cultural sensitivity. Producers can ensure authentic representation and cultural sensitivity by consulting Nigerian experts and creatives who have lived and experienced Nigeria for a greater part of their lives.
By embracing this alternative, foreign adaptations can bridge cultural divides while honouring Nigerian stories and perspectives authentically.
