Veteran Nigerian actor Yemi Solade has stirred conversation in the film industry by claiming that although Pete Edochie is older than him in age, he is actually senior to Edochie in professional acting experience.
Speaking during an appearance on Father’s Path with Tope, Solade revealed that he began acting in 1977 at the age of 17. This, according to him, places his acting career at 48 years as of July 2025. He emphasized that his journey in performance predates Edochie’s iconic role in Things Fall Apart and the eventual rise of Nollywood in the early 1990s.
“I’m senior to Pete Edochie. I started acting before him, though he’s older than me,” Solade boldly stated, adding that he even represented Nigeria as the country’s youngest actor at 17.
Beyond personal claims, Solade used the moment to shine a light on what he believes to be the underappreciated contributions of Yoruba actors and filmmakers to Nigeria’s entertainment history. He argued that many Yoruba creatives were making home videos and performing in theatrical productions long before the emergence of mainstream Nollywood. He mentioned legendary pioneers such as Hubert Ogunde, Baba Sala, Ade Afolayan, and Dr. Ola Balogun—figures who helped lay the foundation for what would later become Nigeria’s vibrant movie industry.
Solade noted that the Yoruba sector of the industry was rich and active but often under-documented, which has contributed to widespread misconceptions about Nollywood’s true origins. He challenged the popular narrative that credits the Eastern (Igbo) sector—and particularly the release of Living in Bondage in 1992/93—with the birth of Nollywood. According to him, much of Yoruba cinema’s early innovation was sidelined in historical records, despite its foundational impact.
On the other hand, Pete Edochie has often asserted his own legendary status, famously stating that he is “senior to the movie industry.” Edochie became a household name with his role as Okonkwo in the NTA adaptation of Things Fall Apart in 1985, a performance that came nearly a decade before the Nollywood explosion of the 1990s.
This ongoing debate between age and experience highlights deeper issues in Nigerian film history—especially the tension between recognition and documentation. While the Eastern Igbo-led film movement is credited with commercializing Nollywood, actors like Solade insist that the roots go further back, especially within the Yoruba theatrical tradition.
In summary, Yemi Solade claims that his acting journey, which began in 1977, makes him a senior figure in Nollywood—more so than Pete Edochie, despite the latter’s global recognition and older age. His comments not only bring personal pride to the fore but also reignite discussions about the rightful pioneers of Nigeria’s cinematic heritage.
