Nollywood actor Uzor Arukwe has recently addressed the backlash surrounding his portrayal in Omoni Oboli’s new film, Love In Every Word. In the movie, Arukwe plays the character Odogwu Obiora, an affluent Igbo man who generously showers his partner, Chioma (played by Bambam), with lavish gifts and attention. While the film has been well-received by many, particularly women who see it as a positive depiction of how men should treat their partners, it has also drawn criticism from some male viewers who feel it misrepresents the responsibilities of men in relationships.
Critics have accused the film of portraying Igbo men as “simps,” a term often used to describe men who are perceived as overly submissive or excessively accommodating to women, often at the expense of their own dignity. One user on X (formerly Twitter), identified as Himp2million, expressed his discontent by stating, “Anambra men are not simps. Your movie is liked only by ladies who have always had the illusion of an odogwu that’ll spend his last dime on them.” This comment reflects a broader concern among some male audiences that the film exaggerates the expectations placed on men in romantic relationships.
In response to the criticism, Arukwe took to social media to clarify his stance. He emphasized that caring for one’s partner and spending money on them should not be construed as being a simp; rather, he views it as a sign of responsibility and love. He stated, “Taking care of your woman and spending money on her doesn’t make you a simp. It only makes you a responsible man. How else do you show love to your partner if you can’t take care of their needs from the abundance of your wealth?”
This incident is not the first time Arukwe has faced scrutiny for his acting choices. In 2023, he was criticized for allegedly overemphasizing his Igbo accent in Funke Akindele’s blockbuster, A Tribe Called Judah, sparking discussions about authenticity and representation in Nollywood.
The ongoing dialogue surrounding Love In Every Word highlights the cultural tensions regarding gender roles and expectations within relationships, particularly in the context of Nigerian society. As Arukwe continues to defend his portrayal, the conversation reflects broader themes of masculinity, responsibility, and the evolving dynamics of romantic partnerships in contemporary narratives. The film’s reception may serve as a catalyst for further discussions about how men and women are represented in media and the implications of those portrayals on societal norms.
