WHO KILLED THE GHANA FILM INDUSTRY?
By JOT Agyeman
THE
state of the Ghana Film Industry is dire. I have sat back and watched keenly
the semblance of a revival taking place in the industry and doff my hat to filmmakers
such as Kwaw Ansah, Shirley Frimpong Manso and Leila Djansi for keeping the
film industry alive. Other filmmakers
including Socrates Safo and Abdul Salam Mumuni have also made a name for
themselves. I dare say, however, that the Ghana Film Industry is on the brink
of death.
In
1948, the Gold Coast Film Unit was set up within the Information Services
Department (ISD). Shortly after independence, Dr Kwame Nkrumah created the
State Film Company which later became the Ghana Film Industry Corporation
(GFIC). Nkrumah built the very first complete film facility which then included
the Information Services Department Film Unit building opposite the French
Embassy and the whole of the land currently housing Afrikiko restaurant at
Kanda as well as the premises of TV3.
In
the early days of filmmaking, stalwarts such as Rev. Chris Hesse, Tom Riberio,
R.A. Fenuku, Frank Parks, Sam Aryittey and Ashong Katai gave their all to
nurture an industry that was new and vibrant. From the early 1960’s all the way
to the mid-1970’s, the Ghana Film Industry welcomed filmmakers from Nigeria,
Togo, Senegal and Kenya. These students of film came to Ghana to learn from the
very best in Africa. How quickly did the tables turn!
The demise of Ghana Film Industry
There
is no doubt that the military coup of 1981 led to the demise of the Ghana Film
Industry. This I will explain later. Dr Kwame Nkrumah set up the Ghana Film
Industry and built the largest studio in West Africa in what is today known as
Studio B at TV3. The premises that today holds TV3 and all the facilities
including the Executive Theatre were part of Nkrumah’s plan to create an
African film industry to rival what he had seen in America during his school
days and what the colonial government, championed by the BBC, were doing; though,
he may have had a plan to use the industry to propagate his message. There is
no denying that he built a well-equipped, world class facility for film production.
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| A scene from "Heritage Africa" |
Early Ghanaian films
In
those early days long before the great Kwaw Ansah gave us ‘Love Brewed in the
African Pot’ starring Reginald Tsiboe and Anima Misa Amoah in 1980 and
‘Heritage Africa’ starring Kofi Bucknor in 1988, Ghana had recorded some
achievable feats in filmmaking such as the very first Ghanaian film shot on celluloid
‘The Boy Kumasenu’ (1952) directed by British Director Sean Graham, and others
such as ‘Baby Ghana’ (1957) directed by Jean Rouch, ‘Genesis Chapter X’ (1977) directed by Tom
Riberio and starring George Williams, and ‘I Told You So’ (1970) directed by
Egbert Adjeso. Indeed, actors such as Lord
Bob Cole and Margaret ‘Araba Stamp’ Quainoo became household names during this
period. The presence of Kwaw Ansah and King Ampaw paved the way for a new generation
of actors and filmmakers to emerge. David Dontoh and Evans Hunter are remembered
in ‘The Road to Kukurantumi’ (1984) by King Ampaw.
With
the emergence of video, the Ghana Film Industry Corporation had to readjust to
be competitive. Their very first video starring David Dontoh and Mavis Odonkor
and also directed by Tom Riberio was called ‘Dede’. The company went on to
produce several films including ‘A Stab in the Dark’ (1998) starring Pascaline
Edwards and Edinam Atatsi and ‘Baby Thief’ (1991) which launched the acting
career of John Dumelo.
I
have no doubt that the foundation for the demise of the Ghana Film Industry is
steeped in the Jerry John Rawlings led PNDC and NDC governments. The film industry was seen as a drain on government
resources then, so the PNDC and NDC governments starved the company of funds,
gradually bringing it to its knees. Moreover, it became apparent that the government
had no use for a Ghana Film Industry Corporation which with the exception of
GBC and perhaps the ISD, had the largest collection of authentic Ghanaian films
both on celluloid and on video. Thai company BEC-TERO set up TV3 in 1997 and
sold it off two years later. In 1999, Media Prima of Malaysia took over TV3 and
annexed the GFIC, renaming it GAMA Film Company Ltd, with government as a
shareholder. Outrage by filmmakers over the sale at that time fell on deaf
ears.
There
is evidence that the Malaysians were not interested in GAMA; their primary
objective was television and together with their Ghanaian partners including heavyweights
in the Rawlings government, GAMA was again starved of cash to operate. The
incentive to take over the Ghana Film Industry Corporation was simple. The
facilities were already in place, they had the studios and the equipment which
TV3 could readily use. It is important
to note that the Kufuor-led NPP government did not also make any firm commitments
to reviving the industry, but also sat on the fence watching filmmakers
struggle to get their films made.
Good news for filmmakers
According
to the terms of reference, the Malaysians had 10 years to operate the business.
In 2010, the agreement with Media Prima of Malaysia ended so TV3 was quietly
put up for sale and the government of Ghana already a shareholder in GAMA, regained
its shares in GAMA to once again become 100 per cent shareholder.
Filmmakers
who heard the news at that time were ecstatic that the dream of Nkrumah to
create a vibrant film industry could finally be realized. The facilities of the
Ghana Film Industry Corporation were once again available to filmmakers and the
staff of the company gloried in a new beginning for GFIC. They were wrong!
Certainly the priority of the Mills led government in 2011 was not filmmaking
in Ghana.
When
the Coleman-led administration of GAMA, after government took control, decided
to charge TV3’s new owners rent of $26,000.00 for the use of their premises so
they could raise seed capital to revive the fortunes of the ailing corporation,
a Deputy Minister of Information at that time, asked him to proceed on leave.
All staff of GAMA also went home. Ironically, the very filmmakers charged to
make and preserve our heritage were shoved out of GAMA. It is not surprising
then that GAMA was again placed on divestiture and within three months was
snapped up by the new owners of TV3 giving them full control of all the
facilities. This brought to an end over 60 years of the Ghana Film Industry
Corporation.
A new generation of filmmakers
In
the meantime, private filmmakers were struggling to keep the industry going.
Students of the National Film Institute, the only one of its kind in West
Africa, who could have made use of the GAMA facility, were graduating in droves
to find an industry all but dead and buried. The hundreds of editors,
producers, directors, scriptwriters and cameramen became disillusioned with the
apparent lack of support for the industry. Many faded away and some gave up on
their dream and ended up doing other things. I dare say that one of the
challenges brought about by the lack of support for the Ghana Film Industry
Corporation was the emergence of certain filmmakers who by virtue of seeing a
huge gap in the industry, started new dimensions to filmmaking. The emergence
of the so-called ‘Glamour Movie’ genre and Kumawood were born. Of course, the
gap had to be filled and filled it was with sub-standard scripts and poor
quality acting and no one to correct the mistakes being made by these
producers, actors and filmmakers.
Yet
there was a silver lining. A number of people shone through. They stepped up
their game and gave us a peek into the future of filmmaking. A rebirth took
place and Ghanaians now had an opportunity to see some well-produced movies
once again.
Shirley
Frimpong Manso and Leila Djansi became icons of the industry. They both took us
to new levels of digital film production. Shirley brought us ‘Life and Living
it’, ‘Perfect Picture’, ‘Scorned’, ‘Checkmate’, ‘Adams Apple’, among others.
Leila Djansi came with ‘I Sing of a Well’, ‘Sinking Sands’ and ‘Ties that
Bind’. At the same time Ghana’s most celebrated ilmmaker Kwaw Ansah continued
to make movies with ‘The Love of AA’ and ‘Papa Lasisi’s Bicycle’.
I
wonder sometimes where the great actors of our time are. Many have simply gone
into hibernation and only come out when something worth doing comes out. The
likes of Ebenezer Brew-Riverson, Dzifa Glikpoe, Akosua Abdallah, Mawuli Semavor,
Oscar Provincal and Doris Sackitey were the role models for many of us in
acting school. We marvelled at Kofi Middleton Mends, Martin Owusu, Mary
Yirenkyi, Kofi Yirenkyi, Kofi Bucknor and Anima Misa as they honed their craft.
Is there any hope for the film
industry?
President
John Mahama promised a revival. He set up the Ministry of Tourism, Culture and
Creative Arts to facilitate and bring together all the Creative Arts under one
Ministry. That in itself is a difficult thing for one Ministry to undertake.
The Creative Arts, according to any dictionary, is the study of the following: dramaturgy, music, graphic
arts/cartooning, performing arts, film, publishing, galleries, museums, and the
visual arts. Some may say that anyone who is creative and innovative should be
recognized as being part of the Creative Arts industry. Therefore fashion
designers, carpenters, weavers are all part of this rather broad industry. What
Ghana needs is a comprehensive film policy or a film commission to look closely
at the film industry again. There is no way that a Ministry so enthused by
Tourism will spend its time on the Creative Arts Industry. I may be wrong but
that is so far what I gather. It may try
to set up a bureau within the Ministry but there is little or really nothing it
can do to change anything. An example is the uncompleted theatre building
belonging to the School of Performing Arts at the University of Ghana. If
President John Mahama is truly passionate about the Creative Arts, then he must
lead the charge to revive the Ghana Film Industry Corporation.
The sale of
GAMA and its assets is unfortunate and a failure on the part of government
to look beyond parochial interests and personal gain. Many of us would have
been happy to see government find a way to keep the film industry alive.
Selling what could have become a huge industrial base for filmmakers was
certainly not the best move. The movie industry creates jobs, and gives
opportunity for many young Ghanaians to make money and provide support for
their families.
Our movie stars today have to travel to Nigeria
to be part of Nollywood in order to survive. Yet many of these Nigerian producers
saw Ghana as the home of African filmmaking in the early ’60’s, and ’70’s. Remember that many big budget Hollywood films
have been shot on location here. These include ‘Cobra Verde’ (1987) starring
Klaus Kinski, ‘Ali’ (2001) starring Will Smith, ‘Deadly Voyage’ (1996) starring
Omar Epps and ‘Ties that Bind’ (2011) starring Kimberley Elise.
The potential of the film industry is huge
given the right support, yet the very people whose support we need, turn a blind
eye to the plight of filmmakers. Today, the dream of Kwame Nkrumah lies in the
sole hands of private businessmen who do not understand the tenets of filmmaking
or television. I love Ghanaian businesses
and appreciate efforts by Ghanaian businessmen to succeed; but anything that
ties us to our Heritage must not be
disposed of. Soon we may decide to sell off the National Museum and then
perhaps Ghana Broadcasting Corporation. Who now owns all the films produced
under the watch of the Ghana Films Industry Corporation? The Ministry of Information also played a
part in the disposal of the Corporation, yet it finds it prudent to hang on to the
Film Unit of the Information Services Department. Could the two units not merge
to form a formidable unit? I guess GFIC was easy pickings just like tossing a
penny in a pond, yet when we recite the pledge, we say with pride, “Our
heritage won for us, through the blood and toil of our fathers”.
The writer is a Media Practitioner, Actor, Author and a
Content Development Consultant.
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