The Sins of the Father: A Deep Dive into the Twisted Love Triangle of 'Something Like Love'
#SomethingLikeLove #NollywoodReview #EddieWatson #ChidiDike
Rating: ........... (3/5 Stars)
There is an old Nigerian proverb that says, "A man does not wander far from where his heart is rooted," but in Omas TV’s latest production, Something Like Love, everyone seems to be wandering into the wrong beds. Directed with a keen eye for the "New Nollywood" aesthetic, this film attempts to navigate the murky waters of betrayal, toxic revenge, and a coincidence so statistically improbable it could only happen in Lagos—or a very high-stakes drama.
As a veteran analyst of our local cinema, I’ve seen the "revenge cheat" trope played out a thousand times, but Something Like Love adds a layer of Oedipal complexity that elevates it from a standard romance to a cautionary tale about the dangers of emotional recklessness.
Cinematography: Glossy Interiors vs. Narrative Depth
Technically, the film leans heavily into the high-end "YouTube Nollywood" style. The camera work is crisp, utilizing the Sony A-series or similar mirrorless kits that have become the industry standard for digital streaming.
We see a lot of tight close-ups during the emotionally charged dialogues between Kelvin (Chidi Dike) and Laura (Precious K. Charles). These shots effectively capture the sweat and tears, making the audience feel the claustrophobia of their failing relationship. However, the film occasionally falls into the trap of "TV-style" framing—static medium shots in living rooms that last a bit too long.
The lighting consistency is commendable. Even during the rain-slicked night scene where Laura first meets Bright (Eddie Watson), the exposure is balanced, avoiding the muddy shadows that often plague lower-budget night shoots. The color grading leans toward warm, golden hues, which contrasts sharply with the "cold" and bitter nature of the plot’s central betrayal.
Sound Design & The Rhythm of Heartbreak
Sound has often been the Achilles' heel of Nollywood, but here, the dialogue is surprisingly audible. There are a few moments in the outdoor restaurant scenes where the ambient "clinking" of cutlery competes with the actors, but for the most part, the microphone quality is professional.
The score is heavily reliant on emotive piano melodies and R&B-infused tracks that signal "drama is coming." While the music cues are well-timed, the film could have benefited from more silence. In Nigerian cinema, we often fear quiet moments, but in a story where a woman realizes she has slept with her boyfriend's father, silence would have carried more weight than a crescendo of violins.
Costume and Production Design: Class and Character
The production design does a fantastic job of establishing social hierarchy. Bright’s restaurant and home are curated to reflect a man of substance—a "Big Boy" who has transitioned into a "Responsible Daddy." His wardrobe consists of well-fitted, mature linens and smart-casual shirts that scream "refined chef."
In contrast, Kelvin’s wardrobe reflects a younger, more impulsive energy. Laura’s transformation is also visible through her styling; she shifts from the disheveled, heartbroken girlfriend to a woman attempting to reclaim her power through provocative evening wear. The makeup remains consistent, though perhaps a bit too "glam" for a woman supposedly going through a mental breakdown, but such is the aesthetic of modern Nollywood.
Narrative Structure: The Hook, The Line, and The Sinker
The film opens with a visceral hook: the immediate aftermath of a cheat. By skipping the "happy couple" phase and dropping us straight into the conflict, the writer forces the audience to take sides immediately.
The pacing, however, suffers from the mid-film "Nollywood drag." There are several scenes of Laura debating her feelings with her sister that feel repetitive. We get it—she’s confused. These moments could have been tightened to reach the "Father-Son" reveal faster. The climax, where the two worlds collide, is handled with the appropriate amount of chaos, though the resolution feels slightly rushed, leaning on a "life goes on" montage rather than a deep exploration of the long-term psychological damage caused.
Plot Logic: The Coincidence Conundrum
Let’s address the elephant in the room: the "Small World" trope. In a city of over 20 million people, the odds of Laura picking Kelvin’s father out of a bar for a revenge flip are astronomical. However, within the context of Nigerian societal norms—where elite circles are small and everyone frequents the same upscale spots—it is just believable enough to pass.
The plot hole that lingers is Laura’s motivation. If she truly loved Kelvin, would she have been able to maintain a full-blown romantic connection with Bright after the initial "revenge" night? The film paints Laura as a victim of her own emotions, but at times, her decisions border on the sociopathic, especially when she tries to convince Bright to run away with her even after the secret is out.
Characterization & Performance: The Chidi, Eddie, and Precious Trio
Eddie Watson (Bright): Eddie delivers a restrained, mature performance. He plays the "oblivious lover" with a sincerity that makes his eventual heartbreak feel earned. His chemistry with Precious is palpable, which makes the "ick factor" of the reveal even stronger for the audience.
Chidi Dike (Kelvin): Chidi continues to solidify his spot as Nollywood’s "Golden Boy" of drama. He handles the transition from a remorseful cheater to a betrayed son with significant emotional range. His breakdown in the final act, where he calls his father "Father of the Year" with biting sarcasm, is the standout moment of the film.
Precious K. Charles (Laura): Precious has the hardest job—playing a character that is essentially the villain of her own story. She succeeds in making us pity her, even when we want to scream at her. Her delivery of English and occasional Pidgin feels natural, reflecting the code-switching common among young Nigerians in corporate or social settings.
Thematic and Cultural Relevance
At its core, Something Like Love is a critique of the "Eye for an Eye" philosophy. It reflects a growing trend in Nigerian youth culture where "toxic" behavior is often celebrated as "leveling the playing field." The film serves as a social commentary, suggesting that revenge doesn't just hurt the target; it burns down the entire house.
The theme of the "Father-Son" bond is also quintessentially Nigerian. In our culture, the father is a sacred figure, a protector. For a father to inadvertently (or advertently) "encroach" on his son’s territory is an "abomination" (nso ala). The film handles this cultural taboo with enough sensitivity to provoke discussion without feeling like cheap exploitation.
Scene Breakdown: The Dinner of Doom
One of the most brilliantly executed scenes is the official introduction that never quite happens. The tension as Laura walks into the house, expecting to meet Kelvin's "troublesome father," only to see the man she’s been falling in love with, is peak cinema. The use of slow-motion and the muffled sound effect to simulate Laura’s internal panic was a smart directorial choice. It allowed the audience to sit in the discomfort of the moment before the vocal explosions began.
Verdict: A Bitter Pill Wrapped in Silk
Something Like Love is a polished, emotionally heavy drama that proves Nollywood is moving away from simplistic "village vs. city" stories toward complex, character-driven psychological conflicts. While it relies on a heavy dose of coincidence, the performances and technical execution make it a worthwhile watch.
It forces us to ask: Is forgiveness ever truly possible after such a deep betrayal? And can a bond between father and son survive the ultimate test of shared history?
Who should watch this? If you enjoy high-stakes family dramas like The Men’s Club or films that explore the darker side of romance and karma, this is for you. It’s a perfect "Sunday afternoon" watch that will leave you arguing with your friends about who was truly at fault.
Head over to Omas TV on YouTube and clear your schedule for two hours. Just make sure you aren't watching it with your partner if you have secrets of your own!
#NollywoodTimes
#SomethingLikeLove
#NollywoodReview
#EddieWatson
#ChidiDike
No comments:
Post a Comment