It all started from stage plays in schools and communities to touring troupes performing powerful African legends like Sango; the god of thunder. Nigerian theatre has long captivated audiences worldwide. Iconic dramatists such as Duro Ladipo and Hubert Ogunde took these stories from Berlin to France and the UK in the post-colonial era, showcasing the richness of African narratives. Now, the journey from the written word to the screen offers another groundbreaking opportunity, bridging timeless literature with visual storytelling.
The Nigerian film industry, Nollywood has earned a spot among the biggest in the world. Over the years, it has accomplished remarkable milestones and is well-known for its extensive production output and capacity to depict deeply ingrained African stories. The industry has transitioned from focusing on love and romantic tropes to adapting the lives of legendary figures and Nigerian historical narratives, which is a commendable shift.
Films like Funmilayo Ransome-Kuti and the recent release of Lisabi offer a fresh perspective on visual storytelling, providing more inclusive and comprehensive narratives. However, the business is looking to improve the quality of its content and expand its reach internationally. And considering that there are more books in the world than movies, one untapped source is the book-to-screen adaptation.
At the just concluded Emmy Awards, Shōgun, based on the 1975 title novel, won 18 Emmys, entering the ranks of other award-winning book-to-screen adaptations such as Schindler’s List, Twelve Years a Slave(2013), The Lord of the Rings (2022), The Shawshank Redemption (1994), and others. There are several benefits to achieving this especially as Nigeria is the home to some of the greatest African writers, including Wole Soyinka, the first African Nobel laureate.
I have had the privilege to meet with many readers from all around the world, and “Things Fall Apart” as one of the most studied African novels worldwide, by one of the African finest novelists, Chinua Achebe, is always a terrific place to start a conversation. In recent years, Nollywood is gradually tapping into its literary past to bring renowned African stories to the screen. Even as we speak, Achebe’s Things Fall Apart is about to be brought to the global screen by Hollywood, featuring Idris Elba.
With films like Eleshin Oba, which is based on Wole Soyinka’s Death and the King’s Horseman, and Swallow, which is based on Sefi Atta’s novel, as well as the adaptation of Chimamanda Ngozi Adichie’s Half of a Yellow Sun, the Nigerian film industry is realising the possibility of transforming literary classics into cinematic experiences.
While it may appear to be a more comfortable tactic for Nollywood producers to capitalise on established fan bases, these adaptations have substantial benefits for both the literary world and Nollywood consumers. The novels on which they are based are given a new life through adaptations, which also introduces them to audiences who might not have otherwise come across them. This creates a domino effect where both the mediums—books and films—prosper because more people are inspired to read the books.
Consider Half of a Yellow Sun as an example. The adaptation of this critically acclaimed novel not only boosted the film industry but also raised book sales, bringing it into the spotlight years after its original publication. Comparably, the Netflix version of Swallow exposed Nigerian literary works to a worldwide audience and increased awareness of the breadth and depth of African literature.
These adaptations are a valuable instrument for cultural export.
Nollywood’s presence on international platforms such as Netflix and Amazon Prime Video allows African literature to reach a larger audience, closing the gap between Nigeria’s cinema and literary history. Book-to-screen adaptations foster a mutually beneficial connection in which both sectors benefit from each other’s increased success and visibility.
However, a poor adaptation can quickly lose the spirit of the original story and turn off fans of both movies and books. For instance, some Half of a Yellow Sun viewers believed that important details of the Biafran War were omitted from the movie, which left the experience less fulfilling for those who loved the book. Yet, these challenges also present opportunities. On the other hand, Wole Soyinka’s Death and the King’s Horseman was adapted with a distinct directing style that added levels of social and cultural commentary that might not have been entirely conveyed in the book.
The familiarity these modifications provide is one of their main draws. Seeing a beloved book come to life on TV is like reuniting with an old friend. Because of this familiarity, the transition from page to screen is both culturally meaningful and emotionally compelling. When a plot is based on a well-loved narrative, adaptations give viewers a point of entry when they might otherwise be reluctant to devote time to reading the book in the first place.
In an era of digitisation, where viewership is increasing at an addictive pace, and readership may not always keep up, Nollywood’s pivot to book-to-screen adaptations is crucial at this moment. For Nigerian writers, having their writings adapted for the cinema is both validation and an opportunity to reach new audiences.
Novel adaptations for the big screen are not without difficulty. To close this divide, all stakeholders including authors, publishing houses, and filmmakers ought to work together more frequently. Three tangent points are intended to be included in every work of art: to inform, educate, and entertain. We exclude excellent storytelling from our repertoire if any of these components are absent. Literary works frequently explore individuals’ interior thoughts, complex locations, and nuanced subtexts that could be challenging to depict on screen. As such, filmmakers need to make creative decisions about what to include, remove, or adjust to ensure the narrative works in a visual medium.
The storytelling landscape of Nollywood might be enhanced by book-to-screen adaptations, which could also open new markets and improve the industry’s standing both domestically and globally. Filmmakers should explore Nigerian literature as a treasure trove of unexplored tales that can offer the depth, complexity, and cultural resonance required for top-tier movies as Nollywood develops further.
By championing literary adaptations, Nollywood could elevate its storytelling to new heights, bridging the gap between the rich legacies of Nigeria’s literary icons and the boundless possibilities of visual media. The upcoming Hollywood version of Things Fall Apart may well be the beginning of a golden era for Nollywood—where the pages of Africa’s most profound stories come alive on screens around the world. The outcome of the project may also determine this projection, as the result (if positive), could set a new benchmark for Nollywood, influencing future adaptations of iconic African works likeBuchi Emecheta’s Joy of Motherhood, Sly Edaghese’s The Trial of Jimmy Johnson, Teju Cole’s Everyday is for The Thief, and Chika Unigwe’s On Black Sisters Street.
•Doyin Adigun is a graduate teaching assistant at Purdue University, Indiana, USA
