Class on Display: A Marcist critique on Chief daddy

     The Nigerian movie Chief Daddy, produced by EbonyLife Films in 2018 and directed by Niyi Akinmolayan, is a comedy-drama that tells the story of a wealthy businessman who suddenly dies, leaving his family and numerous dependents in shock. What starts as a funny family drama quickly turns into a battle over inheritance, money, and social position. While the film is entertaining, it also shows us a lot about how class and wealth operate in Nigerian society, which is to explain how the film’s message is shaped by its story, its production choices, and the Nigerian environment it was made in. From the beginning of Chief Daddy, we are introduced to a wealthy man, Chief Beecroft, who has multiple families and beneficiaries depending on him. He is portrayed as a typical capitalist figure,  someone who has control over money, business, and people. When he dies, the people around him are thrown into confusion, mainly because their lifestyle depended on his wealth. This shows the power imbalance between the rich and everyone else.

    According to Marxist theory, society is divided into two main classes: the bourgeoisie (the rich owners) and the proletariat (the working class). In the film, the Beecroft family members and other rich characters clearly belong to the bourgeoisie. They don’t seem to do any actual work but enjoy a lavish lifestyle thanks to Chief Daddy’s money. On the other hand, we have the workers (the drivers, cooks, maids) who are always in the background and never part of the main plot. This reflects how society often ignores the people who do the real labor. Most of the conflict in the film is about inheritance, not about work or creating value. Everyone is just trying to get a piece of the wealth that Chief Daddy left behind. This shows how the upper class survives by passing down wealth through family connections rather than by working for it. It supports Karl Marx’s idea that the rich maintain their power by controlling property and wealth, not by contributing to society.

      When we look at the structure of Chief Daddy, we notice how it uses visuals and character behavior to show class differences. The rich characters are always shown in big houses, wearing designer clothes, and driving expensive cars. Everything about the movie, from the costumes to the setting is all full of luxury. This helps to glorify wealth, making it look like something everyone should desire. At the same time, the film uses humor and exaggeration to make fun of the characters. For example, Lady Kay (played by Ireti Doyle) is shown as dramatic and obsessed with fashion and money. Her character is funny, but her greed and lack of depth also represent how some people are only focused on appearances and material things. Even though the film makes these rich characters look silly, it still centers the story around them and not around the people who work for them. The comedy genre also plays a big role in how we see class in the film. Because we are laughing, we might not realize how serious the issues of inequality and greed are. The film hides its class message behind humor, which means it might not be really challenge the rich  instead, it entertains us while still showing that rich people are in control.

    Chief Daddy is set in Lagos, which is one of the most expensive and socially divided cities in Nigeria. The way the film shows people fighting over property and money reflects what happens in real life. In Nigeria, there is a growing gap between the rich and the poor, and many people rely on connections and inheritance to survive or succeed. The film shows this by focusing on people who don’t want to work but want to enjoy a soft life because of who they are related to. Marxist theory talks about false consciousness, which means people believe in a system that actually works against them. In Chief Daddy, some characters like the mistresses or illegitimate children believe that getting part of the inheritance will solve all their problems. They don’t question the system of inequality,  they just want to be part of it. This shows how capitalism can trick people into thinking the only way to win is to join the rich, instead of fighting for a fairer system.

    Another important point is that the film never really tells us how Chief Daddy got his money. Was it clean money? Did he exploit others? We don’t know. This silence is a big problem, because it reflects how Nigerian society often avoids asking questions about how the rich became rich. The media, including Nollywood, sometimes helps to protect the image of the wealthy, making them look admirable even if their wealth comes from corruption or exploitation.

   In Chief Daddy, people and relationships are treated like products. Everyone is trying to act loyal or nice just to get a share of the wealth. Even the funeral, which should be a time to mourn, becomes a big show full of fancy clothes and loud drama. This is what Marx means by commodification, when things that should be emotional or meaningful become about money. The film also shows that real class mobility is not possible. The only way people can move up is by being connected to the rich. The drivers and housemaids don’t have any story or hope of becoming rich. They are completely ignored. This proves what Marx said: capitalism keeps the working class at the bottom while protecting the power of the rich.

     In Conclusion, Chief Daddy may be funny and dramatic, but when we look at it through Marxist theory, it becomes clear that the film is more than just entertainment. It shows how class and wealth dominate Nigerian society, but instead of challenging the system, it mostly celebrates the lifestyle of the elite. The story is centered around people who don’t work but want more money, while the actual workers are not given any voice and the Nigerian environment all work together to promote a capitalist idea of success. Even though the film shows greed and selfishness, it doesn’t give us any real solution to inequality. Instead, it teaches us to admire the rich, hope for inheritance, and forget about the people doing the hard work. From a Marxist perspective, Chief Daddy is more about protecting class privilege than exposing it.