Class on Display: A Marxist Critique of Chief Daddy

EbonyLife’s Chief Daddy (2018) is a star-studded Nigerian comedy that tells the story of a wealthy man’s sudden death and the chaos that follows among his large, extended family and associates. While the film presents itself as light-hearted and entertaining, it also reveals deep-rooted ideas about wealth, class, labor, and privilege in Nigerian society. Using Marxist theory, this essay will explore how Chief Daddy represents class structures, focusing on themes such as inheritance, economic inequality, commodification, and class mobility. The aim is to understand whether the film challenges the excesses of the elite or simply glorifies them.

According to Karl Marx, society is structured around class conflict, especially between those who own the means of production (the bourgeoisie) and those who sell their labor to survive (the proletariat). In Chief Daddy, this divide is clearly visible. Chief Beecroft, the patriarch, represents the capitalist class. He is wealthy, powerful, and central to the lives of all the characters not just his family, but also his staff, mistresses, and business partners. His sudden death leaves everyone scrambling for a share of his wealth, showing how dependent they were on his financial power. The film makes it clear that Chief Beecroft was not just a father figure, but also an economic backbone. This reflects how, in capitalist societies, a small elite controls access to wealth, and everyone else revolves around them.

One of the most obvious themes in Chief Daddy is inheritance. The movie centers on who gets what after Chief Beecroft dies. The will becomes a symbol of power, and everyone tries to position themselves to benefit. Here, Marxist theory helps us see that the transfer of wealth through inheritance keeps power within a small group. The people fighting for a share of the fortune are mostly already privileged. They are not struggling workers, they are lawyers, celebrities, or socialites. This reflects how, in real life, wealth is often passed down rather than earned, keeping the upper class at the top and limiting upward mobility for those outside that circle.

Interestingly, Chief Daddy does include characters from the working class, particularly the household staff. Characters like the cook, the driver, and the personal assistant are loyal and hardworking, yet they are treated as secondary by the elite characters. While the upper-class family members are arguing over money and status, the workers remain quiet and invisible. This highlights a key idea in Marxist thought: labor is often undervalued. Despite their contribution to the running of the household, these workers are given little attention or respect. They exist in the background, performing essential duties without recognition. The film misses an opportunity to explore their lives or struggles more deeply, which reveals its class bias.

Commodification is another important concept in Marxist theory. It refers to the way people and relationships are turned into things that can be bought and sold. In Chief Daddy, almost everything feels transactional. Relationships are tied to money. Love, loyalty, and even grief are often performed with the hope of financial reward. For example, some family members show up to the funeral not out of genuine sadness, but because they hope to benefit from the will. Women who had romantic ties to Chief Beecroft try to prove their connection to him, not just for emotional closure but for material gain. This shows how capitalist systems can turn even the most personal parts of life into business opportunities.

Although the movie presents itself as a family drama, it often uses humor to make light of serious class inequalities. The extravagant lifestyles of the rich are portrayed in a glamorous way, designer clothes, flashy cars, and lavish parties dominate the screen. The working class, meanwhile, is rarely shown outside of work. Their homes, feelings, and struggles are not explored. This creates a one-sided view of society where wealth is normal and desirable, and poverty is invisible. From a Marxist perspective, this kind of storytelling supports the status quo. It doesn’t question why inequality exists. Instead, it entertains the audience with the lives of the rich, making luxury seem like the ultimate goal.

One might expect that the chaos following Chief Daddy’s death would lead to some criticism of how the wealthy behave or how unfair the system is. But the film does not seriously challenge elite privilege. Instead, it reinforces it. By the end, the family finds a way to move forward without losing their status. There is no real consequence for their selfishness, and no deep reflection on the unfair system that allowed one man to control so many lives. This lack of critique aligns with what Marxist theorists describe as “false consciousness” a situation where people accept inequality without challenging it because it is made to look normal or even desirable.

What’s also missing in Chief Daddy is a clear discussion of class mobility. The movie shows characters trying to move up the social ladder, but it usually happens through marriage, inheritance, or favoritism not through hard work or collective action. For instance, characters who were close to Chief Beecroft like his mistresses or secret children try to claim a place in the family not by building something of their own, but by attaching themselves to his name and wealth. This reflects a society where access to wealth is not based on effort or merit but on connections. In Marxist terms, the system shown in the film is rigged to benefit those already close to power, and there is no real hope for outsiders.

However, to be fair, the film does show the absurdity of elite behavior. The fighting, the drama, and the greed are not always shown in a positive light. Some scenes seem to poke fun at the selfishness of the upper class. But the satire is too soft to be called a real critique. It makes the audience laugh at the rich without actually questioning why they have so much in the first place. In this way, Chief Daddy ends up glorifying the elite, even while showing their flaws. It entertains us with their messiness but does not offer a serious alternative.

In conclusion, Chief Daddy is more than just a comedy, it is a reflection of how class works in Nigerian society. Through a Marxist lens, the film reveals the deep divide between the wealthy and the working class. It shows how inheritance keeps wealth in the hands of a few, how labor is taken for granted, and how money shapes relationships. However, instead of challenging this reality, the film often celebrates it. The result is a story that reinforces elite privilege and overlooks the struggles of those at the bottom. For viewers thinking critically, Chief Daddy is not just about a family in crisis, it’s about a system that rewards the rich and forgets everyone else.