Olu Jacobs (MFR): A Legacy Of Excellence

There are all kinds of actors who make an impact at different levels. However, there are others, like Oludotun Baiyewu Jacobs, whose careers not only define their generation but also become part of the history and cultural tradition of an industry.

With the death of the man known simply as Olu Jacobs at the age of 84, Nigeria has lost one of the most iconic figures in its theatre, television and film traditions. For more than five decades, Jacobs bestrode the stage and screen with a rare combination of authority, intelligence, discipline and dignity.

His demise is therefore not simply the death of a celebrated actor; it is the end of an important chapter in the story of Nigerian entertainment.

Jacobs was born on July 11, 1942, to parents of Egba Alake heritage. He spent his early years in Kano, where he showed an early inclination towards the stage. At Holy Trinity School, he participated in debating and drama, discovering early the power of performance. His encounter with the legendary theatre practitioner Hubert Ogunde at one of Ogunde’s concert parties at the Colonial Hotel in Kano transformed his youthful fascination into a career path.

Afterwards, the young Jacobs travelled to England, where he trained at the prestigious Royal Academy of Dramatic Art in London. His professional career began in British theatre and television. In 1972, he appeared as The Boy in A Taste of Honey at the newly opened Crucible Theatre in Sheffield.

He went on to feature in several British television productions, including The Goodies, Till Death Us Do Part, Barlow at Large, The Tomorrow People and The Professionals. In 1978, he played President Mageeba in Tom Stoppard’s Night and Day.

His international career expanded in the 1980s, with appearances in films such as The Dogs of War, Pirates and Baby: Secret of the Lost Legend. These achievements were significant for a Nigerian actor at a time when opportunities for African performers on the international stage were far more restricted than they are today.

Despite his flourishing acting career, Jacobs decided to return to Nigeria, a move that turned out to be an informed choice.

In 1990, Jacobs appeared in the Nigerian Television Authority detective series The Third Eye. He subsequently became one of the defining actors of Nollywood, featuring in more than 100 Nigerian films.

One cannot tell the story of Nollywood’s evolution without giving Olu Jacobs a copious mention. He possessed a commanding voice, remarkable stage presence and an acting technique rooted in the discipline of theatre. He became particularly associated with roles as kings, chiefs, patriarchs and other figures of authority, but his real gift was his ability to give such characters depth, humanity and credibility. Any character role he took, Jacobs has the skill to become completely immersed in it, giving it originality and very similitude.

He also brought the hard work and attention to detail of the classical stage into a rapidly expanding popular local film industry. In the process, he helped demonstrate that Nigerian actors could combine indigenous storytelling with professional standards capable of earning international respect.

His achievements were recognised with numerous honours. He won the Africa Movie Academy Award for Best Actor in a Leading Role in 2007. In 2011, he was conferred with the national honour of Member of the Order of the Federal Republic (MFR) for his contribution to the Nigerian film industry. He received the Industry Merit Award at the 2013 Africa Magic Viewers’ Choice Awards and a Lifetime Achievement Award from the Africa Movie Academy Awards in 2016. He was also honoured at the Africa International Film Festival in 2021, among other recognitions.

Beyond the awards and recognitions, Olu Jacobs’ legacy can be seen in the professional example he set. He represented a tradition in which acting was properly recognised as a vocation requiring training, preparation, discipline and respect for the audience.

His other great contribution was institution-building. Together with his wife, veteran actress Joke Silva, Jacobs founded and operated the Lufodo Group, with interests in film production and distribution, as well as the Lufodo Academy of Performing Arts. Their vision went beyond personal success: they helped create structures that would continue developing talent and strengthening the creative industry long after their departure from the stage.

Perhaps one of the shining examples he left behind is his family life. His marriage to Joke Silva was more than the union of two celebrated actors; it became a creative and professional partnership. Together, they built careers, established Lufodo and raised a family.

Jacobs’ own explanation of why his wife retained the name Joke Silva was particularly revealing. He recognised her individuality and professional identity, insisting that marriage should not erase the name by which she had established herself. It was an expression of mutual respect that reflected the quality of their partnership.

In an industry where actors often struggle to balance personal and professional life, the Jacobs-Silva marriage offers an example of enduring companionship, professional collaboration and family commitment.

Jacobs’ later years were marked by serious health challenges. His wife eventually disclosed that he had been battling Lewy body dementia. Yet his diminished public appearances did not diminish the affection and respect in which he was held.

Expectedly, an avalanche of tributes has been poured out following his passing. The Nigerian Film Corporation, the Presidency, political heavyweights and business moguls, numerous actors and admirers have mourned his passing, recognising his contributions to the professionalisation and growth of Nigerian cinema.

However, their tributes should transcend mere ceremonial remembrance.

Nigeria must preserve the work and history of its great artists. Jacobs’ films should be archived, his performances studied, his professional journey documented, and the institutions he helped establish supported for future generations.

His journey—from a young boy in Kano inspired by Hubert Ogunde, to a student of RADA, to British theatre and international cinema, and finally to one of the defining figures of Nollywood—is a story of talent, courage and service to the creative arts and to the nation at large.

Importantly, Olu Jacobs demonstrated that international success did not have to mean abandoning one’s roots. He returned home and helped build an industry that would eventually carry Nigerian stories around the world. Other successful Nigerian professionals abroad should emulate this example.

As a newspaper, we join others in appreciating his wonderful career and life and wish him peaceful repose in the next life.

As his family, friends, associates and well wishers prepare to bury him on October 2, we join others in saying goodbye to a great thespian.