Director: John Landis

Starring: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos

Primary genre: Romance

Secondary genre: Comedy

Nominated for: Best make up, costume design

The 80s saw Eddie Murphy being a comedy god and a massive box office draw who could appeal to different audiences at the same time the same way Michael Jackson reach out with his music. His work in Walter Hill’s “48 Hours” (1982), John Landis’ “Trading Places” (1983) or Martin Brest’s “Beverly Hills Cop” (1984) is full of witty one liners, impeccable comic timing and most importantly, adult and raunchy material. The 80s was the decade where mainstream genres did not cater towards the needs of teenagers unless you count the rather vain and telegraphic horror US outputs.

Featuring front and center (a fictional) African culture - a thing almost unheard off in a Hollywood flick, with an all star black cast, “Coming to America” was a surprising commercial success. However, its most well known element - Murphy’s capacity for theatrics and improvisation was unexpectedly diminished here focusing more on a fairytale like story set in New York City. Every checkpoint related to this kind of stuff is present from beginning to end: the well-intended but firm rich parents, the rebellious son, the trustworthy and royal best friend, the kind-hearted female romance, the jealous boyfriend, the skeptical future father-in-law and so on. Thus, it is only natural for this romantic comedy to lack originality killing any potential to extract a lively Murphy performance despite the script allowing for some (actual) progressive message about the role of women in marriage; a welcome addition considering the time of release that saw most pics characterizing female partners as one-dimensional trophies which men fight over.

Landis directs less with a “Blues Brothers” (1980) enthusiasm and more with a-gun-for-hire attitude leading to frequent clashes behind the scenes with his A-lister over creative control. Murphy who determined to tone down his antics, won trying to capture a wider audience by eliminating his R-rated routine and relying more on optical and verbal gags. Although this approach occasionally works, you can sense Murphy’s restrain deeply missing his traditional laughter inducing and energetic outbursts. The star caves in the fish-out-of-water trope in a pinnacle 80s New York City where everyone is an asshole and only Arsenio Hall’s luxury loving best pal is having a ball with the material.

“Coming to America” though is memorable for two Oscar nominated reasons. First, while Murphy scales his mannerisms back along with Hall they play several hilarious supporting characters buried under Rick Baker’s amazing prosthetics. This provides an opportunity to unfold their natural talent and chemistry all the way up to 11; they are so good you’d think these roles are portrayed by different people! And second, the costumes dazzle in their vivid detail. The film almost masquerades itself as a musical in that department (there is even an extensive dance sequence choreographed by Paula Abdul) outdoing chief musical creatives back when effort and thinking was put into movies to make them fun.

Will this tad too long motion picture be remembered for its novelty? Hardly. But it is its context which carries it forward in a day of senseless whining about representation this and representation that. It is frequently funny serving back and forth dialogues with immortal one liners (e.g., “The royal penis is clean!”). While it is not the finest point of Murphy and Landis, no one can deny the film’s appeal and lighthearted charm.

+Murphy and Hall

+Multiple characters

+All star cast

+Amazing costumes

+Very funny in most places

-Tone down Murphisms

-Cliched and long