Coming to America may be the Blackest comedy ever made, and it’s little touches like McDowell’s that elevate it past the mild amusement it seems to garner from White viewers into the upper echelon of hilarity it occupies for us. It crushes us under the weight of familiarity, to the point where a musical cue or a mere image is enough to inspire raucous laughter. There are so many in-jokes that the film is like an old Negro Spiritual: everybody can hear the music, but only we can understand the code in the words....She's your quuuueeeeeeen to beeee ....
Murphy’s Akeem is a fine creation, vulnerable, naïve and hopelessly romantic. There’s a scene late in the film where he is walking home from his first date with Lisa, and it is easily the most romantic thing Eddie has ever done. As he glides down the street, he sings Jackie Wilson’s To Be Loved in that crappy African accent he provides Akeem. Murphy sells it -— this is what it feels like to be a bruva in love... [O]ne cameo stops this film cold, turning it into a terrifying drama. That cameo is by Samuel L. Jackson, and nobody told him this was a comedy. As a shotgun-wielding robber, Jackson commands the screen and for a hot minute, you really believe it when he says he's going to shoot people. It's funny that Jackson gets his ass beat by Eddie Murphy, but before that -- Samuel "Yell" Jackson has you by the throat.
Wednesday, February 6, 2008
LET'S HEAR IT FOR MY BAND, SEXUAL CHOCOLATE: As part of his 29 reviews in 29 days for Black History Month, Odienator pens an appreciation of Coming To America. Two excerpts:
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