The Curious Case of Eddie Murphy – Part Two

Alas, the long-awaited sequel to yesterday’s blog post chronicling the highs and lows of one of the greatest comedic actors in film history, Eddie Murphy.

The first post took us through 1984 and with the exception of an already forgotten dud called Best Defense, it was all highs for Murphy. He basically made “Saturday Night Live” The Eddie Murphy Show. A brilliant stand-up special Delirious. The amazing one-two-three punch of 48 HRS., Trading Places, and Beverly Hills Cop, which became the highest grossing comedy in history at the time.

What to do next? Well before we get to the movies, he did have a #2 hit on the Billboard charts with “Party All The Time”, produced by Rick James (insert “Chappelle’s Show reference NOW). It’s no classic, but it’s got a catchy beat and you can dance to it.

Back to the movies. There would be a two-year break between Cop and Murphy’s follow-up. Was he being ultra picky about choosing his next project, not knowing how to follow-up on the biggest comedy ever? Doubtful, because when 1986’s The Golden Child came, it was considered a disappointment. Murphy’s star power was enough to carry it to a respectable $79 million dollar gross, but that’s about a third of his previous film’s take. The film itself was pretty bad. Lame script. Lame special effects. And Murphy seems bored during most of the movie. Golden Child represented a major example of what could be called a “paycheck movie” for Eddie. Unfortunately, several more would follow.

Perhaps Eddie just needed a project before the inevitable Beverly Hills Cop sequel because that’s what followed in 1987. It’s not near the equal of its predecessor, but it certainly has its moments and it was a huge hit. Directed by the late Tony Scott (fresh off Top Gun), it definitely is more action-oriented and doesn’t give Eddie the chances to shine that his earlier comedies did. But all in all, not bad.

By this point, Murphy was still the biggest movie star on the planet. He could do whatever he wanted. And in 1988, he reached what many consider a career peak. He re-teamed with director John Landis (from Trading Places) for Coming to America. In interviews, Landis has stated that the Eddie Murphy he worked with on America was much different than the one he worked with on Places. He’s hinted that while he was more difficult, he was also someone comfortable being in control. During Trading Places, Murphy was shooting his second film working for a well-known director. In Coming to America, Landis was a well-known director working for Murphy. The transformation to box office king was complete.

Coming to America is an important picture in Eddie’s career in so many ways. It was basically the first comedy to feature an almost entirely African-American cast. It’s the first movie to feature Eddie playing multiple roles. The barber shop scenes, in which Murphy and co-star Arsenio Hall playing nearly every role, are the stuff of film legend today. It’s been said that when the movie came out, many in the audience didn’t realize it was Murphy and Hall until the credits rolled.

I stated in Part One of this series that Trading Places is often what I call my favorite Murphy film. Coming to America is the other one I mention. It’s one of those comedies that when it’s on, I’m watching it. And it showcases Murphy’s immense talents maybe better than anything else he’s ever done.

Coming to America would arguably mark Murphy’s artistic peak, but the following year would prove unsuccessful and Murphy’s first taste of true box office disappointment.

Before we get there, 1989 brought us another album from Eddie. This one was not too successful. For evidence, I submit to you the not-too-suggestively titled track “Put Your Mouth On Me”.

The real disappointment of 1989, however, would prove to be Murphy’s directorial debut Harlem Nights. Eddie would star along with comedy legends Richard Pryor (who Murphy idolized growing up) and Redd Foxx. A 1930s era gangster comedy, Nights was eagerly anticipated. It was Murphy’s first time behind the camera. It had a trio of comedy legends headlining it. But audiences didn’t respond to it. It was too misogynistic. It wasn’t very funny. Pryor was well past his prime at this point. It ended up grossing half of Eddie’s two previous films and was savaged by critics.

I’ve seen Harlem Nights a few times and I don’t think it’s as bad as its reputation. It’s got some hilarious moments. It’s pretty damn ambitious for a first-time director. But it’s also very uneven and ultimately not successful. Murphy seemed to take the reception to his directorial debut badly. He would never direct again.

Murphy would take the easy route for his next film, reprising his role as Reggie Hammond in Another 48 HRS. In 1982, Eddie would be billed second to Nick Nolte. Not this time. Unfortunately, the title is all too accurate. It’s pretty much a copy of the 1982 hit. And just like in Golden Child, Murphy seems aware that the movie is mediocre at best. He looks bored. And also slightly overweight (he’s joked in interviews that Another 48 HRS was his “fat period”).

Eddie Murphy pretty much owned the 1980s up until the very end. Harlem Nights and Another 48 HRS ended that era with two badly received pictures in a row. Worse still, Murphy seemed slighted by the former film’s reception and indifferent and sleepwalking through the latter.

With the 1990s beginning, how would Eddie respond and try to reinvigorate his career?

Stay tuned for The Curious Case of Eddie Murphy – Part Three