Opening:
In this book, the first from the author, the reader is taken through the life journey of Francis Onwochei, the footballer, actor, director, producer, administrator and consultant to many stage and film projects in Nigeria.
The book opens with a dedication to his late mother Mrs. Grace Theresa Onwochei (aka Elegance) and moves to the acknowledgments, an introduction by no less a person than one of the author’s mentors, Professor Barclays Foubiri Ayakoroma and concludes with a preface by another co-sojourner in the art, Professor Segun Ojewuyi.
From these opening pages, the reader is set on the fascinating journey of the author as the foreword and introduction give the reader a sip of the tasty wine that flowed through each page leaving the reader thirsty for more. In fact, the author himself shows, from his dedication and acknowledgements, that he appreciates all those he came in contact within the course of his sojourn on earth as he pays tribute to childhood friends, colleagues, mentors, family members and many others whom he had had the fortune to come across in his very impressive, challenging and rewarding journey of life.
The book:
The book is divided into 13 chapters aptly titled to give the reader what each chapter offers. The book attracts the reader with its captivating title, Evergreen: The Odessey of a Nollywood Emperor. For any reader, the first question is to ask, what has he done to call himself an emperor in an industry with a large number of kings, queens, princes and princesses? This question remains until one leaves through each page, and comes in contact with the masterful way that the author takes one through the rich tapestry of his artistic sojourn and how he navigates the contours, boulders and forests of life to arrive at his destination as a true emperor fighting battles, not with sword but with determination, focus and love for the arts.
The first chapter exposes the reader into the private life, the origin and history of his birth. We are made to meet, almost physically, the members of his family and the environment of love and camaraderie into which he was born and raised.
The discipline of his father, Mr. Wilfred Okonkwo, teacher turned civil servant, his mother, Mrs. Grace Theresa Onwochei aka Elegance and his siblings. The reader is drawn into the family tradition of eating from one plate as true Africans until the mischief of the author, impliedly, and those of his other siblings forced the parents to resort to serving them separately. According to him;
“We used to eat together in the same bowl as children, but some of my siblings accused me and one or two others of cheekily concealing meat in dollops of eba such that at the end of the meal, the meat did not go round.
“This was by no means limited to eba and soup. Even in the eating of rice, beans, yam, and other staples, a few of us were repeatedly – though without proof – accused of not playing fair by the others. So, we decided to start eating in separate plates in order for the fast eaters and the ones who hid meat in morsels of food not to shortchange others”. (5)
This chapter also reveals his first encounter with the film as he ran errands for the staff and dwellers of one of Lagos’ most popular cinemas of the 70s and 80s, Jebaco Cinema in Agege and how these endless errands prepared him for a life in the theatre and later in the world of filmmaking.
He didn’t forget to pay homage to his sister, Josephine, who introduced him to theatre where he was nurtured by some of the best in the business, the late Bassey Effiong, founder and director of Anansa playhouse and then Mr. Barclays Ayakoroma now Professor and Deputy Vice Chancellor of the University of Africa, Bayelsa state.
The opening chapters are delicately woven together in almost an unbroken sequence to reveal the young Francis as a prodigiously gifted boy who excelled in whatever task he’s given or that he sets for himself. He excelled as a footballer but lost the opportunity to represent his country at the maiden edition of the under 17 world cup which Nigeria eventually won.
While the disappointment of being dropped from the team at the last minute crushed him and made him bid football a farewell, it opened another door into a profession that gave him, after years of training, experiments, failures and success, the right to refer to himself as an emperor.
Chapters Three, Four and Five detail the author’s journey to Oyo where he obtained an HND in Quantity Surveying, his decision to learn the art of film production under one of the masters of the craft, Tade Ogidan, his sojourn to America, Germany, France, South Africa and other countries in search of knowledge and skills that will prepare him as a rounded professional in theatre and film.
Little wonder then that he is today, one of the most accomplished actors, directors and producers in the industry.
When Francis is not on set, he is a voice behind many productions.
In chapters 6, 7 and 8, he takes us into a journey of experiments, failures and successes as we see how his attempt to organise The Naija Comedy Blast in London failed due to inexperience and betrayal by a close friend and associate.
In chapter 8, we see his contributions to various guilds and associations including NANTAP, ITPAN, DGN, LGE- a group of friends from his secondary school days, that he poured encomiums on for their love, kindness and enduring friendship, and many others.
His tribute to Tade Ogidan is a lesson in humility and gratitude. In fact, veterans like Ogidan, Barclays Ayakoroma, Fẹmi Odugbemi, late Bayọ Oduneye and Bassey Effiong are revered as honest and fair in their dealings with their cast and crew.
His frank and selfless service is captured in his conversation with Femi Odugbemi when Femi was leading the association.
Odugbemi always reminds me that leadership is the honour to plant and nurture a tree under which you would not take shade yourself. The people who planted many of the trees in the forest or communities and homesteads are long gone. According to him, and I agree, that is the cycle of life and the cycle of service.
76
From these chapters we are taken into the history of Nollywood and those who birthed and nurtured it to what it is today. The author pays tribute to those deserving of commendation.
On page 97 of the book, he says:
“Through the trends of the late 1990s into the 2000s, several independent producers remained true to their art and are highly commended for doing so. They include Emem Isong who produced Hit and Run and a few other titles within that period. Tunde Kelani continued to adapt well-written books for the screen, owing to his love for adaptations.
In many parts of the book, he offers pieces of advice on how the industry can get better. One such instances is when he spoke about storytelling and the place of scriptwriters in the growth and development of the industry.
Another way to enhance screenwriting is improved remuneration for writers. That way, they can spend enough time on research, writing, and rewriting. If they continue to be poorly paid, then they need to take on several writing jobs at the same time in order to make ends meet.
Of course, thoroughness is sacrificed when that happens.
The last chapters of the book reveal the depth of the author as a human being who values family friendship and professionalism. He recognises that one cannot go through life without friction with friends, family and colleagues but he leaves his door open for reconciliation and fence-mending.
As he notes, like our people say, he who has people will always be better than he who has money’.
Conclusion
The book is not just a chronicle of the author’s life. It is not an autobiography. It ia a memoir that tells the story of a true patriot, artist, family man and dependable ally.
In it, there are lessons for every member of society – young, old and even generation yet unborn. In it are values that are essential for a better world, a better society where everyone will live a life of happiness and fulfilment.
The language is simple, yet the message is deep and evergreen. This book will impact anyone who reads it positively. It is a story told by a master storyteller, a bequest to anyone who is interested in learning about the art of survival not only as an artist but as humans desirous of leaving their marks in the sands of time.
***Azeez, PhD is a Professor of Theatre, Film & Creative Studies at the Lagos State University.