Global Culture Crossroads: Okonkwo vs Idris Elba
Femi Akintunde-Johnson
I
dris Elba is a name synonymous with global stardom. Whether it is his nuanced performance as Nelson Mandela in ‘Long Walk to Freedom’, or his chilling portrayal of Commandant in ‘Beasts of No Nation’, the actor has proven himself capable of embodying larger-than-life characters. But can he do justice to the towering figure of Okonkwo, the tragic protagonist of Chinua Achebe’s Things Fall Apart? That question has stirred a storm of controversy, reflecting broader concerns about cultural authenticity, representation, and Hollywood’s expanding influence on global narratives.
Achebe’s 1958 novel remains one of the most pivotal works in African literature, dissecting the cataclysmic encounter between the indigenous Igbo people of Nigeria and British colonialism. Okonkwo stands at the heart of this narrative, a man so tethered to his cultural identity that the forces of change render him a tragic relic of a dying era. Bringing such a character to life on the silver screen is no small feat, and casting decisions are vital to preserving the integrity of this narrative. The rumored casting of Elba (52), while exciting to some, has opened a Pandora’s box of cultural and artistic dilemmas.
There are many compelling reasons to support Idris Elba’s portrayal of Okonkwo. First and foremost is his undeniable talent and ability to convey the emotional complexity that Okonkwo demands. Okonkwo’s tragic flaw – his fear of failure and his dogged clinging to outdated ideals – calls for an actor capable of walking the fine line between stoic pride and vulnerable fragility. Elba, with his commanding presence and well-honed versatility, has repeatedly demonstrated the capacity to navigate the moral ambiguity required of such roles.
There is also the practical consideration of marketability. Hollywood’s inclination to cast well-known actors in significant roles is not merely an artistic choice – it’s a financial imperative. Idris Elba, with his international acclaim, could serve as the bridge that connects this deeply Nigerian story with a global audience. In a world where African cinema still struggles to gain mainstream recognition, casting a star like Elba could ensure that Things Fall Apart transcends the ‘foreign film’ niche and garners the widespread attention it deserves.
Yet, this argument is where the cultural fault lines begin to form. As African literature scholars and Achebe enthusiasts argue, Things Fall Apart is not just any narrative that can be globalized for the sake of profit and fame. It is a profound exploration of a specific cultural moment, anchored in the traditions, language, and experiences of the Igbo people. The nuances of the Igbo worldview – expressed in their proverbs, customs, and communal way of life – are integral to the novel’s power. Casting a non-Nigerian, particularly a non-Igbo actor, in the role of Okonkwo risks diluting this cultural specificity, reducing the story to a pan-African narrative that overlooks the deep roots from which it springs.
“There’s a tendency for Hollywood to paint Africa with broad strokes,” noted Nigerian author Chimamanda Ngozi Adichie. “But Africa is not a country. Okonkwo is not just any African man. He is an Igbo man, steeped in a very particular tradition and history.” For many, casting Elba, though African, could symbolize another chapter in the West’s tendency to flatten the rich tapestry of African cultures into a monolithic narrative. Elba’s broad appeal and recognizability might attract audiences, but at what cost to the story’s authenticity?
Hollywood often equates star power with marketability, and Elba’s presence undoubtedly brings a level of global recognition that could draw a wide, diverse audience. This is crucial for a film like Things Fall Apart, which, while celebrated in academic and literary circles, may not naturally appeal to mainstream Western audiences. Elba’s acting chops combined with his international acclaim could help bridge that gap.
Idrissa Akuna Elba, OBE, born to Sierra Leonean and Ghanaian parents, is African but not Nigerian. For some, this fact alone disqualifies him from portraying Okonkwo. While Elba is undeniably talented, there is a belief that only a Nigerian actor, someone steeped in the country’s cultural landscape, can truly inhabit the role.
The decision also raises the broader issue of representation in global cinema. If Elba is cast, it may reinforce the troubling precedent of relying on foreign actors to tell indigenous stories. This practice can overshadow local talent and deprive Nigerian actors of opportunities to portray characters that are their cultural birthright. Nigeria’s film industry, Nollywood, is the second largest in the world, and there is no shortage of homegrown talent capable of delivering an authentic portrayal of Okonkwo. To cast outside this wealth of talent might be seen as Hollywood’s endorsement of the notion that African actors lack the capacity to carry a major production – an idea that perpetuates the very colonialist thinking that Things Fall Apart critiques.
Financially, the project is rumored to be a massive undertaking. Several reports suggest that Hollywood studios are in discussions with Nollywood producers, potentially involving African production houses to ensure a sense of cultural ownership. This consortium would pool resources, aiming for a budget exceeding $50 million (over ₦80 billion in today’s exchange rate), with plans to shoot on locations in Nigeria and utilize both local and international crews. The involvement of African producers could mitigate concerns about cultural erasure, ensuring that the film’s portrayal of Igbo society remains respectful and accurate. But, as always with such partnerships, there’s a fine line between collaboration and co-optation. If the project is too heavily influenced by Western investors, the danger of diluting the narrative for mass appeal looms large.
The stakes are high. Things Fall Apart is more than just a story – it is a cultural touchstone, a lens through which the complexities of colonialism and cultural identity have been analyzed for decades. A misstep in its adaptation could have lasting implications for how African stories are told on the global stage. We have seen examples of literary works from other cultures being adapted for international audiences, sometimes with mixed results. ‘The Kite Runner’, based on the novel by Khaled Hosseini, was one such example that, despite its success, faced criticism for its oversimplified portrayal of Afghan culture. More recently, Disney’s live-action adaptation of ‘Mulan’ received backlash for flattening Chinese history into a palatable fantasy for Western viewers, despite its attempts to honor the original.
However, there have also been instances where adaptation has been handled with care. Ang Lee’s ‘Crouching Tiger, Hidden Dragon’, for example, succeeded in telling a distinctly Chinese story while captivating a global audience. It maintained the depth and dignity of its cultural context while still appealing to viewers unfamiliar with the traditions it depicted. The key to its success was respect for the material – an understanding that a global audience need not come at the cost of cultural authenticity.
The question that hangs over Things Fall Apart is whether such a balance can be achieved. Can Idris Elba, with all his talent and charisma, embody Okonkwo without overshadowing the Igbo essence that defines him? Can Hollywood adapt a distinctly African narrative without stripping it of its soul?
As Achebe’s Uchendu says, “The world has no end, and what is good among one people is an abomination with others.” This sentiment resonates as filmmakers face the task of translating Achebe’s world to the screen. The contemporary world is watching, waiting to see whether this adaptation will honor the cultural heritage that Achebe so brilliantly captured, or whether it will fall victim to the very forces of commodification and cultural flattening that Things Fall Apart warns against.
