Richard Pryor

The Wiz (1978)

The Wiz (1978)

(On Cable TV, February 2019) The 1970s were a dark, sad decade for movie musicals, and The Wiz does nothing to change my mind about it. This musical remake of The Wizard of Oz uses black actors and a modern-day urban setting, but seems determined to waste both its premise and its potential. There was a lot of it to start with, what with a cast that starts with Diana Ross and then goes on to Richard Pryor and Michael Jackson. The surprisingly slow start sets the tone for the disappointment to come, what with Ross looking far too old to play a teenager, and a film that appears determined to suppress any of her natural sex appeal. It gets better once she starts to sing, but not all that much. Michael Jackson fares much better in what is probably his finest screen role, nearly unrecognizable as the Scarecrow, but with his very distinctive voice shining through. Meanwhile, Pryor is in-keeping with the impact of the movie, a disappointment as the Wizard that undermines even an already-undermined character. As a clone of its original inspiration, The Wiz isn’t all that good: Occasionally too scary for kids, far too dull for adults, it also takes many of the original film’s most satisfying (but not necessarily the most realistic) plot points and blurs them into meaninglessness. The production design can be imaginative and ambitious at times, but it’s not successful at what it does. The ending is exceptionally disappointing, running three musical numbers too long and delving into cheap pop philosophy to overstate what was perfectly obvious in the original. The only musical number that works, both on a musical level and a narrative one is the insanely catchy “Ease on Down”, which is worth saving from the rest of this overlong misfire. Reading about the film’s complicated production history is instructive in understanding why it ended up being so disappointing, but this is the result we’re stuck with. (Even Xanadu was more fun than this, if not necessarily more coherent or less dated to the disco era.) Alas, the damage done by The Wiz didn’t stop at the movie itself or its audience: Historically, this film was a notorious flop in every way, and is seen as having led to the end of the era for black-focused films as reinvigorated by the blaxploitation movement. If that’s correct, The Wiz has a lot more to answer for than for wasting more than two hours of everyone’s time even forty years later. (Minus five minutes for “Ease on Down”, because it’s that good.)

Silver Streak (1976)

Silver Streak (1976)

(On TV, January 2019) There are some classical comedy pairings out there, and the Gene Wilder/Richard Pryor was one of them—while they made four movies together, the last one was reportedly a dud, and only the first two are acknowledged hits. Silver Streak is the first of their four movies, and it’s still a good watch today, even as it reflects another time. This blend of comedy and thrills features Wilder as a meek book editor travelling by train from Los Angeles to Chicago. Of course, stuff happens and before long he’s trying to piece together a murder mystery in between being thrown off the train and collaborating with a petty criminal to get back on it. Despite Pryor and Wilder’s comic chemistry (only they could make the blackface sequence work without being offensive) and the lighthearted nature of the film, Silver Streak arguably works better as a semi-Hitchockian thriller. The structure of the film itself is amusing: as we settle down for a comfortable train-bound mystery, our protagonist spends as much time off the train than on it, and Pryor joins the movie only midway through. Obviously shot in Canada (as per the train livery), it’s a comedy with some impressive physical action staging along the way, all the way to its destructive climax. Wilder’s quirky charm works well in grounding the film, allowing Pryor to get away with more outrageous dialogue. While Silver Streak is not quite polished (in a way so typical of mid-1970s production) and occasionally feels scattered between different genres, it pulls itself together in time for the finale and leaves viewers happy for having seen it.

The Toy (1982)

The Toy (1982)

(On TV, December 2018) There is a sharp racial edge to the premise of The Toy—the idea that a black man can be essentially bought by a rich white boy to act as his plaything. It completely fits within Richard Pryor’s comic persona, as well as the irreverent nature of early-1980s comedy. (I’m not sure the same movie could be made today.) Still, what matters in a movie is the execution, and that’s where The Toy loses a lot of its lustre—once given the basic elements, much of the script feels far too familiar to be interesting. Of course the boy needs a friend; of course, the protagonist won’t ultimately lose his integrity; of course, they’ll actually befriend each other.) Further compounding the problem is the often-juvenile nature of the screenplay—it’s fine to have a largely kid-driven film with an adult premise, but when the script’s most interesting elements are sidelined for kiddie goofiness, we’re left to wonder who’s the film real audience. I suspect that some of the film’s disappointment comes from adapting a French film to an American context (with a very different take on the issue of, well, slavery), and not necessarily knowing how to play those elements. At least we do get to have Pryor and Jackie Gleason go head-to-head in comic scenes. Still, The Toy feels like a disappointment, disjointed and not quite able to use everything at its disposal for a coherent result.

Stir Crazy (1980)

Stir Crazy (1980)

(On Cable TV, April 2018) Gene Wilder was a fantastic comedian, and his presence elevated many of the otherwise unremarkable movies he starred in. Stir Crazy is, on many levels, a rather average film—two down-on-their-luck protagonists being jailed on some spurious charges and working their way out of there. But throw in Wilder and Richard Pryor in the lead roles and the film becomes much better than it feels on paper. Never mind the plot and how it ends up with prisoners entering a mechanical bull riding competition (!) when there’s Wilder’s character going in solitary confinement and emerging as serene as a man having come in touch with himself can be. Those moments, far more than the forgettable plot, are what sticks in mind after watching Stir Crazy. There is some similarity in tone here with the original The Longest Yard—kind of an underdogs-and-outlaws-are-cool outlook to unify otherwise very different films. Otherwise, there really isn’t much here to stick in mind, as pleasant as the film can be.

Brewster’s Millions (1985)

Brewster’s Millions (1985)

(On TV, February 2018) Back when I grew up, my TV universe was limited to about half a dozen channels, most of which I couldn’t understand very well due to my lack of familiarity with English. So my childhood culture pretty much depended on the whims of those three French TV networks, and it so happens that Brewster’s Millions was a favourite of theirs. I must have watched it two or three times before I was 15. I still remember bits and pieces of the film in French, which made a contemporary re-watch feel really weird (especially one line which doesn’t sound too bad in French, but whose original version is unprintable on a G-rated web site). Fortunately, Richard Pryor sounds much better than his assigned French dubbed voice, and revisiting Brewster’s Millions in English was more pleasant than I expected. The premise alone is still rich in possibilities: An inheritance game in which the protagonist must voluntarily blow through thirty million dollars in thirty days. It’s harder than it looks, though, and the film’s best moments are those in which sure-fired money-losing plans backfire, and make things even harder. Otherwise, Pryor clowns around with John Candy, flirts with the lovely Lonette McKee and indulges in a lavish series of fantasies by wasting as much money as possible. It’s not, frankly, that good a movie: it’s slight, doesn’t really touch upon challenging social issues the way some of Pryor’s work as a comedian did, and the entire plot is an exercise in contrived situations. Still, I had a good time revisiting Brewster’s Million, and it remains a mildly entertaining evening watch. It may be ripe for a remake, though…

Superman III (1983)

Superman III (1983)

(Third viewing, On Cable TV, June 2017) Aw, yes, Superman III. I know what the reviewers say, and yet you will never be able to convince me that it’s a movie that I should not enjoy. Keep in mind that I didn’t have cable TV when I was a kid … but one of my aunts did, and I was amazed, while visiting back in 1984, to see Superman III show up on a TV screen years before it would be broadcast on network channels. Also keep in mind that Superman III spends a lot of time talking about computers, something that fascinated me then and still interests me now. Never mind that it’s a comedy with seriously dumb ideas about technology: it’s still a lovely time capsule about how people saw computing as magic back then. Then there are the sequences: Superman turning evil and going full-shmuck! Superman fighting himself in a junk yard, wow! Superman going against a supercomputer with a vat of acid! Nine-year-old me was amazed back then, and forty-one-year old me is still charmed right now by the whole thing. I’ll acknowledge that the film is deeply flawed. Putting Richard Pryor in the movie is good for an atypical hacker character, but the various attempts to force comedy out of the film (the ski jump scene and the videogame being the worst) often seem jarringly out of place. The Superman-versus-Superman stuff is still quite good, though, the return-to-Smallville subplot works well, and I enjoyed the funhouse depiction of magical computers far more than I thought. While Gene Hackman’s Lex Luthor is sorely missed, I did not mind at all Lois Lane’s amusing cameo—and rather liked Annette O’Toole as Lana Lang. Christopher Reeves, as usual, is near-perfect as both Clark Kent and Superman. Heck, I even liked the opening slapstick credit sequence. In other words, you may argue forever that Superman III is a bad movie and I won’t dispute the point much. But it’s a bad movie that I like a lot, and there’s no disputing that either.