Beyond Bloodlines, is Idris Elba Culture Fit or Misfit?

Fears of cultural misrepresentation, which drive opposition to Idris Elba’s casting as Okonkwo in a TV series based on Chinua Achebe’s classic novel, Things Fall Apart, are unfounded, argues Okechukwu  Uwaezuoke 

Obviously, behind the purported concern about Idris Elba’s ability to convincingly portray the nuances of Igbo culture and Okonkwo’s character, achieving realism—or “vraisemblance,” as the French call it—lies the real burning question: can a non-Igbo actor genuinely capture the raw, visceral core of Igbo culture? Otherwise, a few of the remonstrating netizens wouldn’t have gone as far as proposing the Black British alternative Chiwetel Ejiofor or the Nollywood star Yul Edochie.

Interestingly, the role of this same British-born actor of West African descent—with a father from Sierra Leone and a mother from Ghana—as the older Nelson Mandela in the 2013 biographical film Mandela: Long Walk to Freedom was also criticised by many, including The Guardian of the UK, for his lack of resemblance to Mandela. Even after having acknowledged him as a “terrific actor,”  the newspaper still highlighted the fact that he “looks nothing like the man he portrays.”

Looking nothing like what Okonkwo is, however, is not the issue here. Since none of the remonstrators question the credentials of the award-winning actor, who recently launched 22Summers production company in partnership with Gina Carter, what then makes Chinua Achebe’s globally renowned literary masterpiece so distinct and challenging to adapt, unlike works by other literary greats?

Even history doesn’t seem to be on the side of these cultural territorialists, who are opposing Idris Elba’s casting as Okonkwo. Already, two major screen adaptations of the novel have already been made, albeit with mixed results. The first, also known as Bullfrog in the Sun, which was in 1971, was directed by Hans Jürgen Pohland and notably starred Johnny Sekka and Princess Elizabeth of Toro. Critics slammed its graphic violence, and Achebe himself was said to be unhappy with the creative liberties taken to draw parallels with the Biafran War. The second adaptation, a 1987 13-part miniseries on Nigerian Television Authority, fared better. Directed by David Orere, it featured Pete Edochie as Okonkwo alongside notable actors Justus Esiri, Funso Adeolu, Nkem Owoh, and Sam Loco Efeh. Ultimately, these precedents suggest that adaptations of Things Fall Apart can succeed without strict cultural or ethnic casting requirements.

Decades of acclaim in the academic and literary worlds have naturally led to various creative iterations beyond the stage. Indeed, in addition to film and theatrical adaptations, the novel has even inspired art exhibitions. As a literary work that has been translated into several languages and has struck a chord with colonised people all over the world, even when it is based on Igbo tradition, it is not unexpected that there could be some unknown adaptations by non-Africans. 

Recall that this 1958 novel—as Achebe’s seminal debut—marked the beginning of his illustrious literary career, earning him the prestigious Margaret Wong Memorial Prize in 1959. This inaugural success paved the way for a plethora of esteemed awards, solidifying Achebe’s position as a literary giant and underscored his profound impact on world literature. Notable accolades include the coveted Man Booker International Prize; the Fonlon-Nichols Award for excellence in literature and education; Nigeria’s highest literary honours: the Nigerian National Trophy for Literature and the Nigerian National Order of Merit; and the esteemed Commander of the Order of the Federal Republic.

Apparently, the instinctive resistance in some quarters to new adaptations stems from the fear of incremental distortion, as each new interpretation potentially compromises the story’s integrity. This concern is rooted in a fundamental challenge: verbal communication’s inherent limitations, similar to transference loss in chemistry. 

But since language, as a human expression, struggles to capture the dynamic complexity of experience within static designations or labels, the character Okonkwo’s native Igbo language could not have been entirely immune to this limitation. The same applies to Achebe’s decision to write in English, which, while expanding the audience, also added layers of transference loss. 

Thus, the notion that British-born actors with Igbo roots or Nollywood actors and scriptwriters would inherently better interpret Okonkwo’s character remains speculative. However, this assumption is undermined by Nollywood’s underwhelming track record in authentically portraying Igbo cultural heritage on screen, casting doubt on its ability to do justice to Achebe’s iconic narrative.

If Idris Elba mispronounces Okonkwo’s name, that would be understandable, given the challenges of mastering non-native sounds. However, the onus is on the director to ensure he got it right. Moreover, requiring Elba to speak English with a Nigerian accent for authenticity is misguided since, as the novel highlights, Okonkwo’s native language is Igbo, not English. 

Meanwhile, Elba’s 22Summers and Gina Carter will executive produce the series, alongside David Oyelowo and Amanda N’Duka (Yoruba Saxon), Ben Forkner, Dayo Ogunyemi, and Achebe Masterworks (managed by Chinua Achebe’s family estate). And talking about Achebe’s family estate, both the late author’s daughter, Nwando, and son, Chidi, are upbeat about the TV series. While Nwando expressed excitement on social media, wishing her father could have seen it, Chidi, who is also Achebe Masterworks’ CEO, announced the adaptation with fanfare on LinkedIn, as he highlighted Idris Elba and David Oyelowo’s involvement. 

One takeaway from all this is the striking parallel between how the British TV series Downton Abbey resonates deeply with its devoted audience and how Chinua Achebe’s Things Fall Apart holds a unique significance for scholars of Igbo descent, despite its status as a world-renowned literary masterpiece. Just as the former is seen to preserve England’s collective cultural memory and shape perceptions of English heritage and identity, the latter serves as a powerful projection of Igbo culture and identity to the global stage.