Levi Ezeasor, talented film producer, departs 

By Levi Obijiofor 

Friday, 26 January 2007 

EVERY culture has a metaphor for death. In my culture, death is depicted as an all-time sneaky robber who attacks human beings at a time when they could offer least resistance. In this context, death is mocked as a coward because it strikes only when it is confident of victory. The description of death as a stealthy mugger is quite appropriate. Death kills at a time and place we least expect. This was certainly the case when death struck down Levi Ezeasor, an accomplished film producer, in December 2006. He was ill only for a brief period before death sneaked into his hospital ward and snatched him at 6.30p.m. on Friday, December 15. 

The death of Ezeasor came suddenly and quickly, a confirmation that death stalks humanity in mysterious ways. He became ill and was taken to a local hospital on December 14, 2006. No one expected that his ill health would lead to death. Against everyone's expectation that he would recover quickly and fully, he died abruptly on that December day. He was 71. The news of Ezeasor's death came to me as a shock. I recall vividly the last time I met him. It was in his house one Sunday morning in February 2004. It was an unscheduled visit but Ezeasor and his perpetually radiant wife, Joanna, seemed to have an amazing way of entertaining unscheduled visitors. They had food and drinks ready. I was struck at heart by the warmth and the hospitality with which they received us. 

Ezeasor was as excellent in film production as he was outstanding during his studies in Nigeria and overseas. After successfully completing primary and secondary school education at Utonkon (Benue State), Ekwulobia (Anambra State) and Asaba (Delta State), his exceptional academic record yielded immediate results. He was one of the first three Nigerians to receive an overseas scholarship to study cinematography at the Overseas Film and Television Centre in London. Some people were mystified by Ezeasor's preference for cinematography. This was understandable. As a talented student, he chose to study cinematography at a time when it was popular for other brilliant students to study medicine, law, engineering, and architecture. Enrolment in these traditionally high profile degree courses constituted the flavour of that era but Ezeasor certainly was determined to buck the trend and to pursue a career in film production. Why would anyone study a course that he or she didn't like simply because other people were jumping into that bandwagon? Ezeasor had developed a passion for film production and no one was going to nudge him in a different direction. In hindsight, he made a wise decision. By the time he completed his studies, he had tucked into his pockets a Diploma in Cinematography (1958), a Diploma in Film Editing (1965) and an Advanced Diploma in Film Production (1981). In recognition of his academic achievements, he was honoured with membership of the British Cinematographic and Television Society. 

When he returned to Nigeria, his glowing performance continued during his career as a film producer. He worked briefly at the School of Agriculture, Moor Plantation, Ibadan, before he joined the Cinema Corporation of Nigeria in Enugu. He later moved on to the Film Unit of the Shell BP in Lagos where, in collaboration with others, he took on the first professional task of producing documentaries that examined the history of oil exploration in the Niger Delta region. Today, anyone looking for a detailed account of the history of oil exploration in Nigeria would find it captured memorably in two major film documentaries entitled: "The search for oil in Nigeria" and "Introduction to oil". Ezeasor was proud to be one of the chroniclers of oil production in Nigeria. 

In his lifetime, Ezeasor maintained an unparalleled appetite for film production. As an aficionado of film, he had argued convincingly that public information campaigns could be successfully accomplished through the medium of motion picture. How? Well, the chief characteristics of motion picture - aural and visual qualities - carried with them the persuasive powers to sway public opinion, particularly in our society in which many people like to see things with their eyes before they could be convinced. In local Nigerian terminology, this is referred to as the phenomenon of "seeing is believing". Until his death, Ezeasor believed that film was (and still is) an undisputed instrument for successful public enlightenment and education campaigns. Ezeasor was personally involved in the recording of history through the production of over 50 documentaries. 

During his film production career, Ezeasor developed great friendships with film producers and directors from around the world. He never ceased to talk about his endearing professional friendship with renowned Australian film producer and award-winning Hollywood director, Bruce Beresford. Beresford, who directed the Hollywood blockbuster movie - "Driving Miss Daisy" - had worked with Ezeasor at the Cinema Corporation in Enugu and also at a movie location in Ireland as recently as 2005. 

Ezeasor once told me how Bruce Beresford had repeatedly invited him to visit Australia but added that he never had the time to take up the invitation. I asked him why he did not accept what many Nigerian youth would regard as an irresistible invitation, particularly at a time when foreign embassies were lobbing insults at Nigerians who lined up in front of the embassies in search of visas to escape the hardships in the country. He looked at me with studied silence. I suggested to him that a visit to Australia would have given him an opportunity to meet and exchange ideas with professional film producers and directors, and also a chance to see the unique flora and fauna, including some exotic islands for which Australia is well known. He didn't say much but his non-verbal expressions suggested to me that his preferences differed significantly from the tastes of the youth in Nigeria. This said as much about the high level of modesty and humility that shaped Ezeasor's life as it did about his love for his country and his community. 

Many people argue, and I agree, that the most significant contribution that Ezeasor made to Nigerian history was his film documentaries on the nature of life and events before, during, and after the Nigeria-Biafra civil strife, in particular his film documentaries on the tragic and grim nature of life in Biafra during the war, as well as the post-war rehabilitation endeavours. These historic events, recorded and produced by Ezeasor with a great deal of professional perspicacity, are now in two film documentaries entitled "Eastern Nigeria Viewpoint: Crisis '66" and "Beyond the Ruins". 

In his hometown of Nanka, Ezeasor was highly respected because he campaigned tirelessly for peace and progress in the community. For instance, he served as publicity secretary of the Nanka Progressive Union for 23 years. It was in that capacity that he participated keenly in the resolution of the internecine chieftaincy struggle that paralysed development of the community for nearly two decades. In recognition of his priceless contributions to the community, including his contributions to the development of the St. James's Anglican Church, he was conferred in 1994 with the chieftaincy title of "Okwulora Nanka" (the public voice or spokesperson of Nanka) by the traditional ruler of Nanka, Chief Gilbert Ofomata. 

Ezeasor carried his love for Nanka into local politics in 1997 when he represented his community as a councillor in the Orumba North Local Government Council. It was during his time in that council that Ezeasor showed that, in politics and in his working life, he was always a man of integrity. As a councillor, he insisted that due process must supersede all council decisions. For this reason, he was mocked as "Mr Guideline" by some mendacious councillors who did not appreciate the values of transparency and accountability in government. 

Ezeasor's death is a huge loss to his family, to the film industry and to Nigeria. As his family prepares for his burial next Thursday (February 1), my deepest condolences go to his wife (Joanna), his daughter (Uzoamaka), his sons (Ikenna, Emeka, Chidi and Nebeolisa), his sisters (Keziah, Rose, Vicky, Charity and Patience), his brother (Professor Dan Ezeasor), his in-laws and other numerous friends. May his soul find eternal rest in the custody of God.