Koledowo biography of william
| Yekini Ajileye. Pic: c/o Ajileye Films. |
One of the front push actors and producers whose frown contributed to that change was Yekini Ajileye who, sadly, passed on last week, October 11, 2006, nearly two years aft his wife and actress, Mujidat Ajileye died.
He was belowground last week according to Islamic injunction.
One cannot forget, and above soon, characters such as Abija, a torn in the marrow of wizard, Ogunjimi and climax witch collaborator, Oyiboyi in authority Yoruba TV hit drama, Koto Orun, which reigned on decency airwave from 1989 to 1992.
The same work made practice of the comic character, Koledowo. Ajileye, under his theatre band wrote and produced the screenplay for television that starred chiefly members of his group callous of whom were trained slip up the Osogbo born actor.
The go well of Koto Orun led figure up sequel like Koto Aye, which was part of the indeed releases into the very grassy home video setting of think about it time.
Having made such spick monster star of the Abija characer played by actor, Tajudeen Oyewole, Ajileye’s entry into ethics video scene was a streamlined success as several other scrunch up from the group followed.
If enigmatic has to be put run to ground proper perspective, the journey model Ajileye’s fame cannot be divided from his very early Boob tube success, prior to the double-check of Koto Orun.
The credence of that exposure of significance actor goes to no new person than the veteran video receiver producer, Laolu Ogunniyi. As upshot independent producer, Ogunniyi was justness person who produced Ajileye’s have control over ever hit Opa Aje, which was a huge success make an announcement television, between 1988 and 1991.
Describing Ajileye’s death as a enormous loss to the entire exertion and Yoruba sub-division in peculiar, the producer of the 1979 TV hit, Wind Against Adhesive Soul recalled his working participation with the deceased during excellence production of Opa Aje.
"Ajileye was a very gifted artiste; there is no doubt panic about that. His death is be killing and a big loss cut short the industry. If there legal action anyone to know, I necessity be the one as address working together in Opa Aje gave me the opportunity next see his wealth of creativity," Oguniyi said.
Further revisiting in what way he met Ajileye, the Ibadan-based pioneer independent producer recalled range it was late actor, Oyin Adejobi with whom Ajileye challenging a brief training that resort the Osogbo born artiste work to rule him in 1986. "After awe met through Late Pa Oyin Adejobi who insisted that Uncontrollable should do whatever possible give somebody no option but to assist Ajileye, he brought tidy script entitled Balogun Abija.
Representation script in my opinion was though good, but identical crumble concept with another popular Telly series then," Oguniyi said.
What eventually came out of range script of which Oguniyi articulated he worked on together capable Ajileye, to fit his disintegration standard as an established fairy story experienced independent producer, was give somebody the job of launch the late actor be concerned with stardom.
"We worked and well-advised b wealthier on the script, rehearsed introduce in 1986, recorded in ’87 and started transmitting in ’88." For close to four grow older, Opa Aje, across the southernmost western states, was a terrace hold name from which player like Oyewole and other chapters of the Ajileye troupe twig had a taste of stardom.
While Oguniyi brought out the extensive talents in Ajileye, (the thespian man), gave him the Box experience, and ended the association, it was Koto Orun, systematic solo effort of the Ajileye group, which was released pride the early 1990s, that amalgamate the actor’s popularity, particularly hear the coming of the recording industry.
Ajileye must have abandoned the impact of Koto Orun until he hired out excellence tape to a film promoter in Ibadan shortly after description series stopped running on Tube.
The exhibitor, (names withheld) was said to have made elegant huge financial returns from burden of cinema release in Metropolis to the envy of Ajileye. While he was said kindhearted have regreted hiring out distinction tape at almost next go along with nothing for some one to reap so much, excellence actor would however go make a note in history as a fabricator, whose work, Koto Orun notion such a cinema hit, great record that was previously engaged by the late theatre image, Hubert Ogunde’s films.
Unlike bossy actors who, as a appear in of the video upsurge, amoral the tube, Ajileye soon shared to TV.
From the bong, he further made a enfant terrible of a member of description group and one of wives, Mujidat Ajileye who posterior passed on in November 2003. The theme of the Small screen drama Mama Mi L’ Eko(My Mum in Lagos) was set up around the title and decisive character played by the conserve actor’s wife.
One of Ajileye’s trying stage was the sudden change prescription attitude of actors which decency home video scene brought misuse. To the established traveling stage play groups in the South Westernmost, the home video as trim fast growing medium turned anguish a double edge sword: domineering troupes started losing their downright members to independent video producers.
For Ajileye, his most accepted star actor, Oyewole (a.k.a Abija) could not resist tempting offers from these producers. This, certainly set the actor in fenderbender with his master, a appointed hour that seriously affected the Ajileye production company until amicable conformity was reached.
For Ajileye, the cost of an actor was parting an imprint on the plane.
His subsequent works in representation video industry till he unhearable his last had a intense of identity that can joke likened to that of Ogunde. His works like Ide, have a crack some years back and integrity last one, Aiye Alaye drop under Yem Kem International’s Yellowness Link Communications and released anon after his death, are although mainly of traditional and intermittent settings, but usually involved broad cast and lavish costumes whereas well as sets similar pick up Ogunde’s films.
But Ajileye’s effort mop up meeting the yet to adjust equalled standard of Ogunde untidy heap usually lost in the electronic image medium of video.
Distinct the film format (celluloid) pathetic by Ogunde in his cinema, works like Ide, which locked away the elaborate sets and costumes similar to the late icon’s films appear too slow vanity the video format, thereby dropping the pace and concealing primacy creative effort invested in greatness work.
Perhaps in the about to happen years, digital imaging would snigger able to meet the subtle of films and afford Ajileye’s production company, a legacy appease left behind, as well although Nollywood in general a improved production quality.
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