It’s great to see Eddie Murphy back doing what he does best. I grew up on movies like Coming to America (1988) and Beverly Hills Cop (1984), which, along with 1987’s Raw and 1983’s Delirious, defined comedy for an entire generation of kids who should never have been watching in the first place. Eddie was subversive as hell for us upper-Midwest white kids, and I remember feeling like he was letting us in on some forbidden secret by sharing his act with us.
Looking back, a lot of that old material hasn’t aged well, but the energy with which it was delivered – whether it be on screen or stage – is still as electrifying as it ever was. Eddie Murphy has long since earned his spot among comedy greats, and with Dolemite is My Name, he honors another influential star – albeit one you may have never heard of. Introducing, Mr. Rudy Ray Moore.
I don’t recall who turned me on to Moore some 20-odd years ago, but I thank whoever it was. Soundbites from his movies had been turning up on punk records for decades, so when I could finally put a face to those obscure samples, I felt as though a weight had been lifted. I got into Moore through punk rock (punks love the guy, what can I say?), but became a fan because of his movies. Dolemite (1975) is just as bonkers as the story of its production claims it to be, and thanks to Eddie Murphy and director Craig Brewer, a crazy influential comedic and musical voice is finally getting some of the recognition he deserves.
Not only is Dolemite is My Name the funniest film of the year, but it’s also the most heartwarming and inspirational. Despite its tendency towards the foul-mouthed (remember, where talking Murphy’s return to form here, which means his ‘80s output), the story of Rudy Ray Moore and the making of his wild opus is one of struggle, perseverance, and triumph. Every single character in the film is uplifted by their experience and proud of what they’ve accomplished under Moore’s undying optimism, and they should be. Brewer’s Hustle & Flow (2005) treads similar ground, showing the director’s penchant for underdog stories – regardless of who the underdog is or where they may come from.
With one of the year’s most engaging supporting casts on hand to help things along, Moore’s philosophy becomes infectious and surprisingly inclusive. Throughout the film, we’re reminded of how much representation matters, even if it only comes in the form of pimps and kung-fu fighting prostitutes. Keegan-Michael Key, Mike Epps, Tituss Burgess, and Craig Robinson are all smiles and support as they plow through one crazy predicament after another, but it’s Da’Vine Joy Randolph as the incomparable Lady Reed and Wesley Snipes as the scene-stealing D’Urville Martin who give the film an extra dose of bizarre distinction. Eccentricities are everywhere, but through it, heart and humanity shine on.
Producer: You’re not supposed to make a movie for the five square blocks of people you know.
Rudy Ray Moore: Well… that’s fine with me. ‘Cause every city in America got those same five blocks. And those folks is going to love it!
Moore’s Dolemite is a movie that should never have seen the light of day, yet here we are. Not only is it still relevant in the pantheon of great blaxploitation films and cult classics, but there has now been a major motion picture made about it starring many of its biggest admirers. I won’t blame you if Dolemite isn’t your thing, but Dolemite is My Name is a stylish, hilarious, and endearing look at what can be accomplished with some optimism, attitude, and the right group of friends.
James is a writer, skateboarder, record collector, wrestling nerd, and tabletop gamer living with his family in Asheville, North Carolina. He is a member of the Southeastern Film Critics Association, the North Carolina Film Critics Association, and contributes to The Daily Orca, Razorcake Magazine, Mountain Xpress, and Asheville Movies.