How does Bill Simmons always beat me to the punch? It's a recurring theme over the last five years. I'll be half done with a new article, surf over to espn.com, and see that Simmons has hijacked my premise. This time around, the subject was the incomparable Eddie Murphy. I'm sure we both got the idea after Murphy's notable turn in last months Tower Heist.
I've read "The Sports Guy" since he became popular when I was in college. One could argue that my writing style has been influenced by Simmons to a degree, but it's honestly more a case of bad timing than anything. I've always written with a comedic angle, with no shortage of sarcasm. A college paper I wrote on the inimitable "Snickers" commercial featuring a football player who gets knocked out and thinks he's Batman drew raves from my professor, who informed me it was the best student paper she'd read all year. I think she maybe have been trying to sleep with me at the time, but more on that at a later date.
Simmons' favorite sport is basketball. So is mine. He loves 80s movies. So do I. Basically, he's Jordan to my Kobe, slightly better with a decade head start. It's tough to be second when high profile competition is so similar. Just ask the makers of Wyatt Earp, Volcano, The Thin Red Line, EdTV, and Infamous to name a few. All opened within months of films covering the same general subject matter (Tombstone, Dante's Peak, Saving Private Ryan, The Truman Show, Capote, respectively) and suffered commercially as a result. Only Armageddon bucked the odds and took down its earlier competition (Deep Impact). And so, if a meteor starts hurtling towards Earth before the new year and you only have time to read one Eddie Murphy career retrospective, read mine. To Simmons, you are but a grain of sand on Pebble Beach, one in a million readers. To me, you are an entire piece of pizza from a regular, eight-slice box. If that strange analogy is right up your alley, stick around. Now, on to the reason you're reading.
Murphy has starred in his share of stinkers over the last two decades, but his resume isn't quite the mess some critics have described. It is fair to say that no comedic actor has a wider disparity between his great movies and his shitty ones, which I'll avoid discussing. After all, when we look back at Robert De Niro's career are we gonna focus on the stuff made post-2000? Of course not. Some actors get a pass for their less than exceptional efforts (Anthony Hopkins, Samuel L. Jackson, Bruce Willis), while others don't (Ben Affleck, Nicolas Cage, Kevin Costner). There's little rhyme or reason, but it's clear that Murphy falls into the second group. That's a shame, because his best material compares favorably with almost anyone of his generation. Here's a look back at some of his best films, counting in reverse order from ten to one.
Note: I discounted Delirious and Raw, two genius Stand-up acts that arguably showcase Murphy at his funniest, although neither is a traditional film.
Sequelitis
10. Beverly Hills Cop 2 (1987): A close call for the cut off spot, narrowly edging the underrated thriller Metro (1997) and Boomerang (1992), one of the most inappropriate, offensive romantic-comedies ever. I've rarely seen a film combine intentional and unintentional comedy to such effect. Anyway, Murphy's first sequel was a hit-and-miss action-comedy that was trashed by critics, but a huge hit with audiences. He reprised his most famous pre-Shrek role as detective Axel Foley, hunting down a team of ruthless thieves called the Alphabet Killers. Cop 2 is a far cry from the original, but still much funnier than 1994's third entry into the franchise. Worth your time if only for Murphy's Johnny Wishbone routine, when he pretends to be a psychic extraordinaire and makes asses of the Beverly Hills police chief.
Multiple Roles
9. Bowfinger (1999): By this point, seeing Murphy playing multiple characters was nothing new. He's used the approach several times, both to good effect (the barbershop scene from Coming to America, the dinner table scenes in The Nutty Professor) and bad (Norbit, not that I paid to see that or anything). But Bowfinger was arguably the first time he wasn't merely going for a gimmick. Here he played brothers, each of whom had large roles and wildly opposite personalities (think Cage in Adaptation). The less memorable of the two was Kit Ramsey, an arrogant, paranoid movie star who resembled Murphy in real life. But his real achievement was Jiff, a shy, socially-awkward nobody who's cast as the lead in a movie that's supposed to be starring Kit. Steve Martin, in the title role, is the director who casts Jiff without realizing the two are actually siblings. Murphy went way beyond nerdy glasses and a funny haircut in imbuing the good-natured Jiff with subdued enthusiasm. He's ecstatic just to be getting people coffee on a movie set and the performance felt as real as anything Murphy's done before or since. Ultimately it ranks only nine, because the movie as a whole isn't quite as funny as it probably sounded at pitch meetings.
(Seriously Simmons, how did you beat me to an Eddie Murphy retrospective? How dammit?)
The Comebacks
8. Tower Heist (2011): It's way too early to put Murphy's latest comedy in proper perspective, having only seen it once. A fair decision requires multiple viewings, which won't happen until it reaches HBO or Starz some time next summer. I can say definitely that Tower Heist is Murphy's funniest performance and live-action film in 15 years. Its ranking will be determined by rewatchability, which all the following comedies have for sure. For a complete review of the film, see my previous blog entry.
(Note: I think it probably warranted a grade of "B+" rather than the "A-" I initially awarded it.)
7. The Nutty Professor (1996): A genuinely funny movie in which Murphy played seven different characters, most notably the sensitive, obese scientist Sherman Klump. When humiliated on a date at a comedy club by a then unknown Dave Chappelle, he ingests a potion and turns into a thin, libido-driven, alter ego Buddy Love. That simple premise provided ample opportunity for sight gags and goofy dialogue, with Murphy's engaging performance driving the film. The aforementioned dinner sequence, which featured Murphy in five roles at once, closes with a spectacular barrage of farts that leveled theater audiences across the country. Whether that says more about American humor is a topic for another time, but funny is funny. The films success led to an inferior, sporadically amusing sequel in 2000. Unfortunately, the original loses points for spawning a cringeworthy period for its star, who produced a plethora of junk aimed at 7-year-olds (two Doctor Dolittle's, The Haunted Mansion, Imagine That, and The Adventures of Pluto Nash followed). In the process, Murphy lost sight of his image and fans who had years earlier made him the biggest movie star alive.
"Hello Donkey."
6. Shrek (2001): A sharp and funny fairy tale as enjoyable for adults as their kids, the Shrek franchise may be the gift that keeps on giving for Murphy. Who knows how much money he earns every time it airs on tv or a copy is sold on dvd? His voice work as Donkey is as recognizable as any in animation, with the possible exception of co-star Mike Myers, who voiced the title character. I'd argue the film's impact has faded for reasons that have little to do with the finished product. In 2001, Shrek was all the rage and seeing the movie with my youngest brother Max (only ten at the time) ranks among my more memorable filmgoing experiences. But the in-joke humor that provided so many laughs on first viewing lose their luster over time, especially after Pixar began releasing annual blockbusters that duplicated the formula. And while hard to believe, the internet still wasn't the all-encompassing monster it is ten years later, when virtually anyone can figure out how to post a "YouTube" video highlighting the same self-referential style. Still, the original was ahead of its time and spawned one of the most successful franchises in history.
Getting Serious
5. Dreamgirls (2006): Important disclaimer: I am not a fan of movie musicals in general. I was horrified when Chicago took best picture in 2002, as it didn't rank among my top 20 films that year. I don't count The Producers among Mel Brooks' funniest outings, nor did I take much excitement from Moulin Rouge, Hairspray, or even The Sound of Music. But Dreamgirls was an exception, a rousing, incredibly well acted film that worked because as much effort was put into the story as the musical numbers. Or maybe I'm just a sucker for Beyonce. Murphy drew raves for his work as James "Thunder" Early, a desperate soul singer trying to hold on after his time has passed. He received his only Oscar nomination for the film and was considered the favorite before losing to Alan Arkin for Little Miss Sunshine.
Should Murphy have won? Not necessarily. He was very good, but probably no better than Jaime Foxx or Oscar winner Jennifer Hudson. Dreamgirls ended up being my 2nd favorite film of 2006 (behind The Departed), so how do I make sense of it barely making the top five here? Because it's not how I want to see Murphy. Comedians of a certain age almost always attempt to branch out as their audiences mature. But aside from a select view who transformed into primarily dramatic actors (Tom Hanks & Robin Williams), most comics are better staying in their comfort zone. Take Bill Murray as an example. He drew high praise for his surprisingly subtle work in Lost in Translation, earning a number of awards and a Best Actor nomination in 2003. Looking back, does it rank anywhere near your favorite Murray performances or films? He rode a wave of excitement that had a shelf-life. Give me the Murray who ad-libbed while battling gophers, bad bowling hairdos, and slimy green ghosts. Dreamgirls is excellent, but I'd rather revisit any of the next four movies.
The Landis Connection
4. Coming to America (1988): I went back and forth between the next two films, eventually giving Trading Places the slight nod, because it had a better premise. Director John Landis and Murphy struck box office gold twice in a Five-Year Span, with the latter becoming one of the most quoted comedies in cinema. High five yourself if you just belted out, "Just let your Soul Glo!" Murphy played Prince Akeem, heir to the throne of Zamunda, who travels to Queens, New York with his servant Semmi (Arsenio Hall) in hopes of finding his perfect bride. The central courtship was sweet, the film somewhat charming, but in unparalleled 80s fashion, it contained enough raunchy humor to earn an ironclad "R" rating. The passage of time has done little to hinder the film's effectiveness. At least once a month you're likely to hear me announce one of the following . . . "Wearing clothes must be a new experience for you," "When you think of garbage, think of Akeem," or "I tied my own shoes once. It is an overrated experience." One final thought; Akeem's forceful father was played by James Earl Jones, whose booming voice became a character in and of itself and is responsible for one of the funniest "Youtube" clips in existence for anyone who cherishes movies. I implore you to search "Coming to Alderaan," but would advise against doing so at work, as I nearly threw up laughing the first time I watched it. Thanks AJ.
3. Trading Places (1983): "Merry New Year!" With so many 80s movies being remade in recent years, I'm stunned they haven't tried to duplicate Landis' classic mistaken identity farce. The basic plot is timeless, as are themes of class separation and stereotyping (also prevalent in the director's best film, National Lampoon's Animal House) The film starred Dan Aykroyd as Louis Winthorpe III, an uptight, pampered snob working for millionaire commodities brokers Randolph and Mortimer Duke (the late Ralph Bellamy & Don Ameche) in Philadelphia. Murphy played a street hustler named Billy Ray Valentine with no prospects or connections. After falling on opposite ends of a debate regarding the impact of "nature vs nurture," the Dukes decided to test their theories (for a $1 wager) by stripping Winthorpe's life apart and giving his company position to Valentine. An appealing concept was splendidly executed, as Valentine adapts to a wealthy lifestyle and develops a conscience, while Winthorp becomes a raving lunatic whose only friend in the world is a hooker played by Jaime Lee Curtis. All six primary roles (including Denholm Elliott as the faithful butler Coleman) were perfectly cast, but it's Murphy who walked off with the movie despite receiving second billing. A first-rate screenplay provided some of his best material; upon being placed in a Whirlpool bath, "Hey, hey bubbles man. Say man, when I was growing up, if we wanted a Jacuzzi, we had to fart in the tub." The films satirical edge can be easily observed on "YouTube" by searching "Trading Places - Bacon, lettuce and tomato sandwich." It's a gem.
Inventing a Genre
2. 48 Hrs. (1982): "There's a new sheriff in town. And his name is Reggie Hammond." One could argue no comedian had a better debut performance than Murphy in the much imitated, though seldom surpassed 48 Hrs., which not only invented the modern action-comedy, but is often cited as the first "buddy-cop" movie as well. Many of the cliches that today make critics groan originated here, from an unwilling partnership, initial animosity, hard racism (including liberal use of the "N" word, which has thankfully subsided over time), mentorship, analogous needs for revenge, contrasting styles, and eventual respect, with one possibly saving the other's life by films end. Beverly Hills Cop, Lethal Weapon, Tango & Cash, Bad Boys, and Rush Hour are among those that duplicated the formula with varying success. Nick Nolte, in one his best roles, played Jack Cates, a tough-as-nails cop who enlists the help of convict Hammond (Murphy) after his partner is killed by a sadistic psychopath named Ganz. As played by James Remar (best known as Dexter Morgan's father Harry), Ganz ranks among the most ruthless, detestable movie villains of the 80s. Meanwhile, Nolte and Murphy displayed genuine chemistry as they traded insults and literally beat the shit out of each other in one of the grittier films from that era. It also contained the single best scene of Murphy's career. About 45 minutes in, short on leads and ideas, Hammond borrows Cates' police badge, announces "I don't like white people," and intimidates an entire bar full of rednecks who despise him. A classic screen moment in every sense of the word.
1. Beverly Hills Cop (1984): Finally, the film that cemented his movie stardom forever. Murphy's first turn as Axel Foley holds a permanent spot on my top ten favorite comedies list, even though it was truly an action-comedy (the best of the sub-genre). But where 48 Hrs. favored action, Cop found a better balance, allowing Murphy's comedic style to set the tone for the entire film. Few sounds in cinema are as recognizable or infectious as Eddie's boisterous laugh, heard in abundance here. In his third major feature, Murphy played a promising Detroit detective (Foley) who after his best friend is murdered leaves for Beverly Hills, CA to track his killers. It was the ultimate fish out of water tale, with street-wise Foley shaking up his posh new surroundings, and toughening a pair of local cops Rosewood (Judge Reinhold) and Taggart (John Ashton) in the process. Other cast members included Steven Berkoff as Victor Maitland, Lisa Eilbacher as Jenny Summers, and Ronny Cox as Lt. Bogomil, as well as funny cameos by then unknowns Paul Reiser, Damon Wayans, and most memorably Bronson Pinchot as Serge. The film represented a career high for most of the well chosen ensemble, as well as screenwriter Daniel Petrie Jr. (story credit also went to Danilo Bach), who received Oscar nominations for their work here. Cop also marked the biggest financial success for director Martin Brest, who'd go on to make the underrated Midnight Run and the Oscar winning Scent of a Woman.
For reasons I can't quite figure, the film doesn't share the enduring popularity of many 80s contemporaries, even though it holds up better than most. It spent a ridiculous 14 weeks atop the box-office chart and edged Ghostbusters as the most popular movie of 1984. In fact, Beverly Hills Cop ended up making more money domestically than every 80s blockbuster with the exception of E.T., a pair of Star Wars sequels, Batman, & Raiders of the Lost Ark. It was beloved by critics and audiences alike, and also spawned a kick-ass soundtrack including hits "The Heat is On," "Stir It Up," and its iconic theme song, "Axel F." The soundtrack eventually reached number one on the BillBoard top 200 chart in 1985.
Murphy has always been one of the great talkers in the movies. His dialogue here afforded him the opportunity to unleash several loquacious tirades. They were not only hilarious because they were observant, but because we couldn't picture anyone else pulling them off. Like his other best films, Cop earned an "R" rating for unmistakable violence and a multitude of appropriate cursing. It was not for the preteen crowd, despite dozens of memorable gags (the banana in the tail pipe) and conversations (Rosewood & Taggart on eating too much red meat, Foley delivering a phony message about acquiring herpes to a revolted country club host). Make no mistake, the film was not shy about representing a racist, elitist, and blatantly homophobic era, which come to think of it may be the primary reason it hasn't endured like so many of the decades more innocent entertainments. Could Beverly Hills Cop even be made today as presently constructed? Probably not, but no matter. It was the pinnacle of the fastest start by a comedian in history. Will Ferrell releasing Old School, Elf, & Anchorman in a 17-month period is the only notable comparison. In only four years, Murphy became the biggest star on Saturday Night Live, released three classic movies (each more successful than the previous), and gained an obscene number of fans in the process, at least one of whom felt compelled to defend his talent to this day.
