Richard Pryor Live On The Sunset Strip
It’s a given that Richard Pryor is one of the most influential stand-up comedians ever (along with Lenny Bruce or George Carlin or Mort Sahl or whoever you want to put on a short list). His feature length performance film, Richard Pryor Live On The Sunset Strip, along with Richard Pryor Live in Concert a few years earlier, are still the benchmarks for stand-up comedy films. Sunset Strip may be slightly stronger because of the incredible autobiographical detail and honesty. He might have been a train wreck in real life, but on stage he was completely self-assured - without being cocky - and utterly honest about his own shortcomings, not to mention his takes on sex and race. Besides being hilarious, this film stand as a documentary about the mind of Richard Pryor and the unique way he interprets the world.
Like Bruce and Carlin, Pryor started off a TV-friendly, joke man who evolved when he found himself, got dangerous, got dirty, and embraced the counterculture. On The Sunset Strip is almost like an autobiographical one-man show; he talks about growing up in a brothel, how going to Africa changes him, working for the mob, but, most revealing, his cocaine abuse. In an almost too honest moment he discusses his famous "blowing himself up" incident. At the same time he still hits some great standards like the differences between men and women and black and white people. He also does his down & out character of Mudbone, for what he claims, thankfully, is the last time.Continue Reading
The train movie has always been a favorite genre of mine (Horror Express, Runaway Train, Narrow Margin, Emperor of the North Pole, etc). Going back to the silents (The Great Train Robbery) the train trip has been used famously as a murder mystery setting (Murder on the Orient Express, The Lady Vanishes), a place for romance (North by Northwest), action (The Cassandra Crossing, Breakheart Pass), comedy (The General), and horror (Terror Train). In 1976 director Arthur Hiller wasn’t exactly sure what genre he wanted - romance, action, comedy. Though sometimes messy, his Silver Streak did mange to breathe some life into the train picture and it ended up being a perfect piece of genre-bending entertainment.
With a screenplay by Colin Higgins, who had written the cult flick Harold and Maude and would go on to write and direct another solid romantic-action-comedy, Foul Play with Chevy Chase, Silver Streak stars Gene Wilder. As one of the era’s most unique comic talents, the role feels very un-Wilder-like. Mater of fact it could have been Chase, Elliott Gould, George Segal, Burt Reynolds or any leading man of the mid '70s. It’s not until just over the half way mark when Richard Pryor enters and infuses the film with a fresh energy, bringing out the more manic Wilder that audiences had grown to love. After getting a co-screenwriting credit on the Wilder flick Blazing Saddles, but nixed as an actor, Silver Streak would mark Pryor and Wilder’s first onscreen comedy together. They would follow it with the sometimes hilarious Stir Crazy and then the mostly terrible Another You and See No Evil, Hear No Evil. But Silver Streak is the film that really best showcases the yin and yang of their different comic styles.Continue Reading
Woody Allen’s most controversial film was hated by fans upon its release for its narcissism and disregard towards his loyalists, but time has made Stardust Memories a much more entertaining film than it was considered in 1980. It blatantly references Federico Fellini’s 8 ½, in both plot (a respected filmmaker trying to clear his mind while dealing with fans and women) and its look (shot in beautiful black and white photography which, like Feliini, includes grotesque close-ups of all manner of odd looking people). Woody actually comes off as one of the beautiful people compared to the faces on the extras. Though Stardust Memories is funny, it’s also deeply depressing. Woody plays Sandy Bates, maybe his most confident character, and though always surrounded by admirers, he may also be his loneliest.
Like Allen himself, Sandy is a beloved maker of comedies who longs to get more philosophical and serious in his work. While attending a film retrospective weekend of his work, he is bombarded by sycophant fans; every couple of minutes someone seems to be asking for his autograph or his attention for their cause or script idea or just heaping praise on him. Time jumps back and forth from the beachfront festival to his New York apartment, while past and present relationships are examined. He’s haunted by memories of his ex, Dorrie (the icy Charlotte Rampling), an insecure and possibly insane actress, and his current French girlfriend, Isobel (Marie-Christine Barrault from Eric Rohmer’s My Night at Maud’s), who maybe he loves, but isn’t in love with. Meanwhile he strikes-up a friendship with an Annie Hall esque sincere violinist (Jessica Harper of Suspiria, who also appe...
The Blues Brothers
There was a time in 1978 when John Belushi had the number one movie in theaters— National Lampoon’s Animal House. He also starred on the massively popular Saturday Night Live and his band The Blues Brothers, a group he co-fronted along with SNL co-star Dan Aykroyd, had the number one album in the country. The success of their album Briefcase Full of Blues led to a film adaptation, The Blues Brothers—the first and still the best of many films to originate from SNL skits. It’s a loud musical-action-comedy film that works in all three genres while boasting some great car chases, stellar music, and staying very funny throughout.
Fresh from a stint in prison Jake (Belushi) reunites with his brother Elwood (Aykroyd). Spurred on by an old friend, Curtis (Cab Calloway) they visit their childhood orphanage and learn that it’s on the verge of being shut down for owing back taxes. After a vision “from God” in church they decide to reform their old blues band and raise money with a large charity concert. Most of their bandmates have contempt for them and need convincing to reunite. Along the way they tend to wreak havoc and leave large swaths of destruction wherever they go which leads the police after them. They also create foes with a country/western band, The Good Ol' Boys (led by Charles Napier), when The Blues Brothers steal their bar gig. They disrupt a Nazi rally and manage to put a carload of uniformed Nazis on their trail (led by the hilarious Henry Gibson of ...