Femi Odugbemi's Maroko is obviously not a Nollywood movie because it deliberately violates the formula: regular cast, music and lyrics that pre-empt interpretation, etc. Also in its choice of subject, it's not Love Me to Death or Bag of Money. It is a progressive effort in that it interested a fresh private sector investor, showing what other direction movie funding can go.
The concern of this movie is crucial to understanding the crises in Nigeria. It is the same question at the root of the problem in the tormented Niger Delta region and elsewhere in the country, where the peace is disturbed.
Maroko is about how the military ruling class usurped a parcel of land on an island in Lagos occupied by the poor people who held it up till 1990, turning more than 300,000 of them homeless overnight. The story follows the grave effects of that act of displacement on a particular family.
How do people get to acquire power and property?
Sadly, it is largely through devious means as much of our history since the First Republic (1960s) has shown. That is not saying, though, that decent men and women among us haven't always resisted that tendency. It is a struggle that will not cease until the habit yields way to a civilized culture.
The might-is-right mentality is traceable to the First Republic (1960-1966) when election rigging led to the Wetie crisis and the eventual collapse of independent Nigeria's first attempt at democratic rule. The generation that witnessed that horror growing up hasn't yet been offered an alternative ethos and, alas, its children are seeing worse; hence, their involvement in the nefarious activities of secret cults in schools.
Thus, even today, the electoral process is largely under threat, the judicial process flagrantly disrespected and the social contract brazenly violated.
Since 1999, though, there has been effort to give hope that civilized processes are workable. Hence, we have witnessed an unprecedented number of highly- placed power holders (among them state governors and cabinet ministers) brought to questioning by mediatory public instruments, especially on allegations of embezzlement of public funds.
Such hope is what a meaningful movie can help keep up by seeking to increase the number of people who would stand for the Rule of Law.
It should be increasingly difficult for a soldier to wake up in his barracks one morning, under whatever guise, and usurp power from a democratically-elected government, however bad that government might seem. Nigerians should be encouraged to reject that sort of order. It should be increasingly impossible for "area boys" (thugs) to suddenly seize the streets and rob, rape and maim innocent citizens without consequences, as it frequently happens. It should be made impossible for thugs in disguise as transport union men to extort money at will from decent commuters without check. It should be impossible for anyone, whatever his or her grouse, to suddenly murder the country's Attorney-General and Minister of Justice without any consequences.
This is where Maroko missed it, in spite of convincing performances by Ayo Lijadu, Bukky Wright and Tope Oshin-Ogun.
Sure enough, when, as the story opens, Fred (Lijadu) kills the politician Bayo George (Lewis) whom he sees as the personification of the forces of oppression that brought him and his family to ruin, it is implied that he would face prosecution for a grave crime- that of murder. Yet, too much time is spent on the justification for Fred's act of violence. The film says to us, "Here's why this man took the law into his hand and murdered this bad man. Or don't you think he is justified?"
It is doubtful, however, if this sort of rhetoric can generate a different attitude toward conflict resolution in Nigeria as, indeed, it is only a reflection of a current popular disposition. This disposition says "Kill them all! Wipe them out!" Or, how many times haven't you heard Nigerians suggest that the political solution needed in this country is the sort Jerry Rawlings offered neighbouring Ghana in the late 70's when he lined up and executed several former rulers? Or haven't you heard Tek Olomu's recent announcement that the next stratagem of his MEND in the Niger Delta is suicide bombing and targeting of governors, ministers and such people?
It is a mentality we should move away from. But Maroko has no suggestion how we can.
And its audience will look forward to such a suggestion as it expects, unlike a European or American audience, to learn something ennobling from a movie. "What lesson can one learn from the film?" is a common question among Nigerian movie buffs?
So, what lesson can one learn from Maroko? That if the system pushes you to the wall, murder whoever represents the system and face whatever consequences might result?
Or, indeed, are there any consequences?
Muritala SULE
