Tag: Moji Olaiya

IN a supposed bid to immortalise the memories of late actress Moji Olaiya, a video documentary of her funeral ceremonies is out, and one can only be put off, first hand, by the offensive title: Canada to Grave.

Haba! What manner of title is this, coming from Gbenga Adewusi’s Bayowa Films and Records, one of the once popular Yoruba audio-visual production outfits of the pre-Nollywood era.

With such title by Gbenga Adewusi, it not only tells how old school and waning the creative energy is, it says a lot about why he (Bayowa) has lost relevance among notable filmmakers of today. Indeed, when was the last time anyone saw a Bayowa production?

For an attempt which could have been a sort of comeback for the old man, considering the place of Moji Olaiya in the Yoruba film sector, Adewusi’s morbid caption for the video is a disappointment.

Did Adewusi cast the title in Yoruba before translating to English or was he just overwhelmed by an attempt to give his work an English title?

Canada to Grave? How does this sound? Grace to grass? Does this celebrate the deceased or demean her?

In title crafting, the most important elements come to play. How is Canada the major element in Moji Olaiya’s life, especially for a work of art that is meant to eulogise her memory? Oh, I see: the sort of glory that we attach to a visit to Europe and America right? Is Canada Jerusalem or Mecca?

Mr. Adewusi, you goofed in your artistic plot and simply made a mess of the essence of that video.

The point of return for the late actress couldn’t have been Canada because her visit to that country did not define what she stood for in any way. If Moji Olaiya had died in Jerusalem or Mecca, perhaps using either location as subject of the phrase could work. And this is only because we are quite sentimental in this part of the world when it comes to the issue of religion.

Added to this dark title is the fact that all parties in the video production could be taking advantage of the actress’ demise to make money through DVD sales or online streaming. With such ridiculous title, Adewusi has no doubt earned some traffic to his unfamiliar Yoruba Swag online TV. And that’s all I see to this effort.

It is imaginable that if asked, the producers of this work may claim it is another fundraising initiative for support the deceased family; how true?

During the artistes’ night at the Blue Roof arena of LTV 8, Lagos on Tuesday, June 6, some guys selling almanacs of the late actress were chased out of the venue for daring to make money off the situation. I cannot see a clear difference.

The title of the documentary is off-putting, but I needed to see if it had any better substance. A shoddy work as expected. I was at the wake-keep and a video of the event could have been done better.

BOTH were Yoruba cross-over actresses who died in their prime, leaving so much pain in the heart of fans and colleagues in the film industry. They were beautiful and charming individuals who had touched their friends and acquaintances in special ways, hard to forget.

They both died in May, though 15 years apart. Their paths may have never crossed closely, but they had so much in common, including dying of cardiac arrest not too long after childbirth.

The gathering at the Blue Roof of LTV 8, Ikeja, Lagos, for tributes for Moji Olaiya on June 6, 2017 was not too different from the tribute in honour of Funmi Martins on May 10, 2002 at Eko FM, also in the same premises.

Both deaths were too sudden and shocking to their colleagues as they did not fall ill for long before their demise.

Hundreds of Nigerian artistes gathered and many had so much to say about their amiable personalities. They were humble and followed peace with all men.

Both were given befitting burials, handled by notable funeral outfits.

Funmi Martins’ cream-colour casket was provided by M.I.C. while Moji Olaiya’s was handled by equally classy Ebony.

But more importantly was the life both lived.

Those who never knew Moji beyond seeing her on the screen wondered why there were so many sympathisers at her funeral. And I imagined that it was the same feeling when Funmi Martins died.

People said Moji was fun to be with, had a warm smile, was gentle, soft-spoken, nice, respectful, caring, dependable, humble, forgiving and what have you.

These qualities defined the crowd of sympathisers which most likely was the same with Funmi Martins.

Moji, 42, niece to veteran highlife maestro Dr Victor Olaiya, died two months after she had her second baby in Ontario, Canada. Although the childbirth was without complications, as the baby arrived two months earlier to her Expected date of Delivery (EDD), reports say the premature delivery saw the actress in and out of hospital for routine medical attention for mother and child.

Irony however, played a fast one on the thespian whose health condition appeared to have improved, as seen in a lively Instagram picture with her child two days earlier before her death. She was thanking God for the gift of life.

Moji’s blood pressure suddenly rose in the early hours of Thursday May 18, 2017 (Nigerian time). And on her way to a Canadian hospital from a friend’s house in Ontario, she gave up the ghost.

Notable film marketer and CEO of Okiki Films and Music Production, Mr. Esan Sunday, who confirmed her death to The Nation spoke amidst tears. She was a regular cast in most of his films.

Filmmaker Yemi Amodu, commented on the actress’ amiable nature. “She was a very lovely person; so humble, and she was so committed to her career, she did everything possible to realise her career. Moji Olaiya lived so freely, she was a free giver too. However, definitely everybody must have their bad side, but I assure you that the good things I can say about her is about 90 percent,” he said.

Continuing, Amodu said, “I and Moji have worked together a lot, in fact, I have a film I am yet to release where she played the role of Akintola’s wife. It’s a story about Awolowo and Akintola.”