Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You get to learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features actor Saeed Mohammed, popularly known as Funky Mallam.
Funky Mallam, born Saeed Mohammed, has steadily built a career that reflects range, discipline, and a strong connection to his cultural roots. Known for his northern inflection and subtle comedic delivery, he began his creative journey as a comic actor and music artist before getting into acting for television, where his presence was marked by a natural ease and a clear understanding of audience engagement. Over time, he expanded into film, bringing with him a style that avoids exaggeration while still carrying emotional weight, whether in humorous or more grounded roles.
With over two decades of acting experience, his film and television credits showcase a rich variety of stories and characters. In Hakeem Seeking Justice, his latest film credit, he delivers a measured and focused portrayal of a detective navigating institutional failures. Many times, avoiding excessive theatricality, Funky Mallam performs with restraint, giving his characters a lived-in authenticity. His career reflects an artist who is discerning, consistent, and in tune with the evolving landscape of Nigerian storytelling. He has also appeared in major Nollywood productions such as Up North, The Ghost and the Tout, Eagle Wings, Ijogbon, Ijakumo: The Born Again Stripper, and The Black Book.
This conversation has been edited for clarity.
Let’s start with one of your latest acting projects, Hakeem Seeking Justice. Your role as Detective Leo in the film delves into some very dark and complex societal issues. What message were you hoping the film would send, and how do you think it reflects the realities on the ground in Nigeria today?
In Hakeem Seeking Justice, I play Detective Leo, alongside Chioma Chukwuka. It’s a daring film that touches on crime, insurgency, and deep-rooted conspiracy. The story highlights some of the reasons things happen the way they do in Nigeria. Sometimes, the police are simply helpless, not because they don’t want to act, but because powerful people have taken control of the situation. There are cases where the police genuinely want to do the right thing, but they’re stopped by orders from above. Even when they try to restore peace, they’re told to back off. The film shows how some criminals operate freely without fear, and in some cases, they even have more protection than regular citizens. It’s a dangerous environment where both civilians and security officials are constantly at risk. It honestly feels like a jungle where everyone is just trying to survive. One of the shocking parts of the film is how it reveals a syndicate of powerful individuals making money from organ trafficking. They work with some well-known doctors to take organs from innocent victims, pretending it’s all part of the insurgency. When bodies are taken to the hospital, organs are secretly removed. It’s a completely planned operation. The film is not just entertaining but also eye-opening. It shows a side of society that many people don’t talk about.
Your parents are from Adamawa and Kano, and you were born in Edo State, with your early years in Delta. How did these different places shape who you are?
I was born in Auchi, Edo State, started primary school in Agbor, Delta State, and finished it in Umuahia, Abia State. I went to secondary school in Jos and later attended university in Kano. So, I’ve lived across different parts of Nigeria, and that gave me the chance to mix with people from different tribes, cultures, and religions. It helped me understand and appreciate people better. I spent a good number of years in each of those places, so I didn’t just pass through. I lived there, picked up bits of the culture, joined in local festivals, and blended in. Delta especially feels like home because that’s where I grew up. My friends and I did almost everything together, and there’s hardly a street in Agbor that I don’t know. All of those experiences played a big part in shaping who I am today.
Coming from a religious family that didn’t support a music career, what did it take for you to evolve in the creative space, particularly as an actor, and how did your family values shape your career choices?
I was raised in a devout Muslim family with a strong blend of Eastern and Western cultural influences. The discipline in our home was top-notch, and my parents instilled in me a deep sense of morality, culture, tradition, and religious values. Because of that upbringing, I always understood the limits of what I could or should pursue in life. That foundation helped guide my decisions, even when things were tough. Not everyone from my background managed to stay on the right path. Some unfortunately ended up in crime or other destructive lifestyles. So I consider myself lucky to have held on to those values. When I initially ventured into music, my mother had no idea. Back then, there was no social media, so it was easier to keep things under wraps and avoid scrutiny. At university, I was basically on my own, trying to survive. I had to pay my school fees, buy handouts, and take care of myself. That pushed me to be industrious. After graduating from Bayero University with a degree in Mass Communication, I returned to Port Harcourt in search of job opportunities. But my passion for film wouldn’t let go, so I began writing scripts. A cousin later encouraged me to move to Lagos, saying that was where the real movie industry was. I took a night bus and arrived in Lagos determined, but it was a serious hustle. I went from one production company to another with my script, only to discover later that someone had used my story for a movie. Fortunately, I met Mr. Femi, the producer of Sango, one of the biggest blockbusters at the time. I visited his office, shared my script, and we connected. He cast me in a sitcom titled Paradise Landing, which began airing in 2000. I didn’t audition; it was just based on our interaction. That opened doors for me. I later featured in a comedy show alongside Okey Bakassi, Julius Agwu, Basketmouth, and others. From there, I started receiving invitations to anchor events and host shows. That was the turning point.
How did you earn your stage name “Funky Mallam,” and how has it influenced your brand as an actor in Nollywood?
When I began anchoring events, meeting people, and working with agencies, many started calling me “Funky” because I dressed in Western-style clothing, which was unusual for a Northerner. At first, I wasn’t comfortable with the name. I tried doing some publicity using my real name, Saeed Mohammed, because I wanted to be known by it. But that changed when a client told me that the person she was representing only recognized me as Funky Mallam. She said there was no way she could use my real name. From that point on, I embraced the name, and it has stuck with me ever since.
You were typecast as a “Mallam” character for a long time before branching out into other roles. Do you think your moral and religious values played a role in that? And how do you maintain your unique identity while pushing against typecasting?
I played that kind of role for a very long time. But it wasn’t really about me; it was about the producers. Once they discover that you’re good at something, they tend to stereotype you. The same happened with actors like Mama G, Ramsey Nouah, and Jim Iyke, as they were all typecast at some point in their careers. However, when producers and directors begin to truly consider those who understand the craft, the narrative starts to change. That jinx has been broken for me for a while now. I’ve taken on roles beyond comedy and the familiar “Mallam” character people associate me with. For instance, in Hakeem Seeking Justice, I played Detective Leo, which was a completely different character. In Eagle Wings, I portrayed an executioner, arguably the most dangerous character in the film. Several other past and upcoming projects show my range. That said, I always strive to carve a distinct niche for myself, just like some international actors. Look at actors like Jackie Chan and Denzel Washington, for example. You won’t find them taking on certain kinds of roles because of the brand they’ve built. Yet, that hasn’t stopped them from being considered among the best. At the end of the day, it’s what you allow people to know and believe about you that shapes the kind of roles you’re offered. Film reflects life. It’s not meant to be limited. We have stories from various cultures and communities, and the possibilities are endless. So why choose to expose things that don’t need to be exposed?
You’ve maintained an interest in Islamic contemporary music alongside acting. How do you integrate your musical talent into your acting career?
I started as a comedian, and along the way, I developed my unique musical style. At one point, Nelson Brown, the producer for Plantashun Boiz, heard one of my songs and wanted to sign me to his label. He invited me to the studio for production, but I hesitated because I feared I wouldn’t have my mother’s blessing. And for me, if my mother doesn’t support something, I don’t go ahead with it. Eventually, I shifted toward Islamic contemporary music. A Yoruba man who appreciated my sound helped me record an 11-track album. The album did well when it first came out. About 20,000 copies were sold in a short time, and demand quickly increased. I told him we needed more copies, but before long, pirated versions flooded the market, and that discouraged me, so I stopped. Now, a record label has shown fresh interest, and we’re working on something much bigger. The company I’m about to collaborate with also has solid industry connections, so I’m excited about what’s coming.
Which figures within and outside Nigeria have served as an inspiration or role model in your career?
In Nigeria, my role model is Richard Mofe-Damijo. He has remained relevant over the years, evolving in ways many of his contemporaries have not. As an actor, it’s important to understand how to engage with producers, directors, and even the audience who look up to you. I’m also deeply appreciative of people like Kunle Afolayan, who have always believed in me and my talent. He continues to invite me to be part of his projects, like Anikulapo, a Yoruba-language film, even though I don’t speak the language. For people like him, I’m truly grateful to God. Outside Nigeria, I’ve always followed Denzel Washington, Eddie Murphy, and Chris Rock. From them, I’ve learned the importance of consistent practice and staying true to your craft. I believe in putting my unique signature on every project I’m part of.
You’ve been notably involved in Kannywood, the Hausa-language film industry. How would you compare it to the Yoruba film industry, considering their respective developments?
Well, when you look at the development of the film industry in Nigeria, Yoruba cinema has had a strong head start. Lagos has always attracted people from different backgrounds, and Yoruba is widely spoken here. Many people naturally connect with Yoruba films because they’ve had a strong presence for decades. From the early days of pioneers like Hubert Ogunde and Kunle Afolayan’s father, Yoruba films were shown in cinemas and even reached audiences in other African countries. They played a huge role in shaping the industry, which is why many of Nigeria’s oldest and most respected film veterans come from the Yoruba sector. I remember back in secondary school, even when people went to the cinema to watch American films, Yoruba movie posters were always displayed outside, and people supported them. On the other hand, Hausa films didn’t have that kind of visibility. In places like Jos and Kano, people mostly watched Indian films in cinemas. Hausa films weren’t as available or promoted in the same way. Now, with international platforms like Netflix, Yoruba films have made a big comeback. They’ve dominated original content, and it’s easier for a 100% Yoruba-language film to succeed in Lagos because audiences here are already familiar with the language and storytelling style. But it’s much harder to do the same with a 100% Hausa-language film in cinemas outside the North, where people just aren’t as used to them. The Yoruba film culture has been built and nurtured over decades, so it’s easy for audiences to relate. You’ll find many Hausas and Igbos who were born and raised in Lagos who don’t speak their native languages fluently, but they speak Yoruba with ease. That’s the kind of cultural integration that continues to give Yoruba films an edge.
If you had the chance to pick a particular industry problem and solve it permanently, what would that be?
That would be greed. Some producers misappropriated the funds from global streaming platforms. If greed hadn’t gotten in the way and they had done things the right way, do you know how many actors would be billionaires by now? We should be at a point where an actor can earn hundreds of millions from a single film. And when that film becomes a hit, the company might even take you around the world as part of a celebration. But unfortunately, some of our producers chose to do the wrong thing.
As a father and a public figure, how do you manage the demands of your acting career with your responsibilities as a parent?
I’m fortunate to have a very understanding wife who knows I have to balance family responsibilities with the need to earn a living. I also make it a point not to spend unnecessary time outside. Whenever I’m not working, I’m always at home, sometimes for two to three weeks straight. During those periods, I ensure my family gets as much of me as possible. I have a six-year-old son, and we spend a lot of time playing together when I’m around. Because of our bond, he often feels lonely and sad whenever I’m away. When I have to travel for work, he asks questions and sometimes gets upset, but I always explain to him that I need to work to pay his school fees and take care of our needs. Sometimes, he even asks to come with me, but I have to let him know that it’s not always possible. Thankfully, he’s gradually getting used to me being away for work.
What other pastime activities do you enjoy?
I’m really into sports. Back in secondary school, I played handball and even represented Plateau State at the U-18 level. I also had the opportunity to represent Nigeria in Cyprus at the time. These days, I have a mini gym at home where I work out regularly to stay fit.
Looking ahead, you’ve expressed plans to revive your music and take on more diverse acting roles. How do you envision your personal growth and life experiences shaping your future projects in acting?
I’ve learned a lot over my nearly twenty-five years in the industry. I’ve seen the good, the bad, and the ugly. Because of my upbringing, I’ve maintained certain boundaries, and I have no regrets about that. It’s earned me respect from producers who understand what I’m capable of. Right now, I’m focused on my production, which is already in progress. We began shooting a project but had to pause due to logistical challenges. We’ve invested about 60 million naira into it so far, but we can’t afford to continue at the moment. We’re currently seeking partners and investors who can help bring the story to life in the best way possible. While that’s ongoing, I plan to produce one or two smaller films. I need to keep showing up and working on smaller projects as I build toward something major.
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