Blood Money (1997 film)

Blood Money: The Vulture Men, also known as just Blood Money, is a 1997 Nigerian occult film directed by Chico Ejiro and starring Kanayo O. Kanayo, Zack Orji, Francis Agu, Sam Dede, and Ejike Asiegbu.

Blood Money
Directed byChico Ejiro
Produced byOjiofor Ezeanyaeche
Release date
  • 1997 (1997)
CountryNigeria
LanguageEnglish

Plot

After being scammed, bank manager Mike (Zack Orji) is reunited with former schoolmate and police chief Collins (Kanayo O. Kanayo), who has since become a millionaire profiting off organ trade. Collins persuades Mike to become a fellow member of the secret cult known as the Vultures, which is led by a "Great Vulture" spirit who promises Mike "instant wealth". At the Great Vulture's command, Mike kidnaps a child who is then imbued with moneymaking abilities. Unbeknownst to Mike, the child is Chief Collins' only son, thus his kidnapping creates a rift between the two men. Three years later, the Great Vulture demands a blood sacrifice from Mike, who delays this by offering his wife and mother instead. In the film's second arc, Mike attempts to appease the vengeful spirit of his mother by collecting seven human heads; his newfound life as a serial killer is constantly interfered with by the police.

Cast

Production and release

The film was produced by Ojiofor Ezeanyaeche and directed by Chico Ejiro. It was released in 1997 as Blood Money: The Vulture Men to commercial success, making it OJ Productions' "first big hit".[2]

Reception

Writing for Africa Today, John C. McCall described Blood Money as a "melodramatic morality tale focused on the cult phenomenon familiar to most Nigerians" (of "money cults" and "money medicine" or ogwu ego) and "a useful distillation of cultural themes and knowledge" similar to how The Godfather would be a useful introduction to organised crime in the United States.[3] Saheed Aderinto and Paul Osifodunrin argue in The Third Wave of Historical Scholarship on Nigeria (2013) that the graphic content in Blood Money "do not represent mere horror fantasy, but dramatisations of the predatory capitalism of the country (indeed the world)".[1]

gollark: Wait, can't a lot of "alive" stuff only replicate if it has a suitable environment, too?
gollark: Also, it would consider sterile humans not alive.
gollark: The "and another member of your species" bit does have the interesting implication that you can't really call something alive or not if you just have one of it, then.
gollark: That is true, except I think some cells can't because of DNA damage or something.
gollark: I mean, individual animals can't reproduce on their own, except the weird ones which can.

References
  1. Saheed Aderinto; Paul Osifodunrin (2013). The Third Wave of Historical Scholarship on Nigeria: Essays in Honor of Ayodeji Olukoju. Cambridge Scholars Publishing. p. 346. ISBN 9781443847124.
  2. Jonathan Haynes (2016). Nollywood: The Creation of Nigerian Film Genres. University of Chicago Press. pp. 172–173. ISBN 9780226388007.
  3. McCall, John C. (2002). "Madness, Money, and Movies: Watching a Nigerian Popular Video with the Guidance of a Native Doctor". Africa Today. Indiana University Press. 49 (3): 84. doi:10.2979/AFT.2002.49.3.78. JSTOR 4187517.
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