30 (wasted) Days in Atlanta

I am convinced that AY had things to do in Atlanta and then thought of shooting this film on the side. I do no think RMD and Desmond Elliot would leave Nigeria for Atlanta for cameo parts in a two-hour film. Even if this comedy was an essential part of AY’s American trip, it still comes across as a scrambled script, in which case it will be safe to assume it’s a low budget film.

However, you do not bring such cast and crew together in such settings with a low budget film. So how did AY end up with a shallow slapstick on a wallet-strangling budget?

It was AY, of all the thousands of Nigeria’s ambassadors to the world, that decided to project the boring and often exaggerated “Nigerians bad” image, using a huge platform. From political comments, bad telecommunication’s network, internet and credit card fraud, living a lie abroad, using relationship to seek visa, going abroad to give birth, to doing illegal work and the sensitive husband-wife relationship.

Every one of these issues is neither originally nor exclusively Nigerian. So “condescending” is another word for “wasted.” And then the man that so piously reels them out employs Akpors, who has no work permit (he should know). That is how a scrambled script reads.

The only social function this film would have performed was draw attention to the environmental pollution that has become part of Nigerians' lives. But AY’s film plays it down. It is heart-breaking. Surely, if Nigerian regulators ban the movie how will money be made? So it is all about recouping the money spent on the movie with no regard to the realities of our world. If so, the movie is a bullet in AY’s foot as all the ills he displays about Nigerians demonstrate our abilities to grab opportunities.

Even Richard is a failed foil to Akpors. Instead of a character that is totally un-Akpors so that Nigeria can be seen in its two-side-to-every-coin truism, Richard is actually another Akpors. Only that he can read and write, and has obviously been all over the world. So he has all the answers.

What makes one seat through minutes after minutes of this comedy that leaves a bad after-taste is, well, the comedy. A run-of-the-mill Nigerian comedy would rely solely on Akpos’ talents and wisecracks (“Oya, toast, toast…”). But there is a good blend of humour provided by dialogue and plot turns.

And for them to insult viewers’ sensibilities with a stomach-churning reference to Pidgin English as Creole! Ah! Even those in charge of subtitles in Yoruba movies will blush with shame.

Vivica A. Fox (Lydia) was quoted as saying she would love to work with AY again and that he has a bright future. That says a lot about us. While AY ranks among the best in Nigerian show biz circle, someone is looking forward to a bright future for him! She would have to tell us what she means— if the quote is correct. Because judging from the end to these wasted 30 days in Atlanta, Akpors will not change his ways.

As they leave for their flight to Nigeria, it was Richard and Omotogbe (Lynn Whitfield) that carry the luggage. Even split. It is the only scene that foreshadows “bright future” where everything seeks balance. But I fear neither cast nor crew see anything symbolic here. I am not surprised. Not when our own Kunle Afolayan could end a wonderful film (Figurine) with a silly question. You will appreciate what I mean by iconic endings if you pause 30 Days in Atlanta at 1: 48: 29.