Monday, January 24, 2011

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Comédies des 80s : conclusion

Three African-Americans clearly take top billing in the comedy "blacks" and 80s. First Richard Pryor movies soul survivor of the 70s, whom the studios reserve roles of very poor: a loser convict in Stir Crazy, a bus driver for child Bustin 'Loose , slave play a rich kid in The Toy and blind-eyed in See No Evil, Hear No Evil . Then, Eddie Murphy steals the show, with lead roles in cartons box office as INRAtion Trading Places the trilogy Beverly Hills Cop and Coming to New York . Finally, the sprightly Whoopi Goldberg plays a female counterpart of Murphy, and plays a heroine almost similar (but qualitatively different) in Jumpin 'Jack Flash , and catastrophic Burglar and Fatal Beauty .

But the end of this decade, one feels a shiver African-American creative renewal. And especially this one arrives at incarnate despite commonplaces conveyed and cumbersome imposed by the major studios. In two years, three films will revolutionize comedy blacks, and even film in general and the representation of African-Americans: She's Gotta Have It by Spike Lee first, but we are in a cinema experimental, very "new wave" and unpopular ... Then come Hollywood Shuffle and I'm Gonna Git You Sucka respectively, by Robert Townsend and Keenen Ivory Wayans-comedies for the general public, but also sharp and relevant.
And the arrival on the market such products, accompanied by surprisingly? - a great financial success that Hollywood producers are obliged to take into account. With his triumph in the stand-up Eddie Murphy Raw (which he entrusts the attainment of Robert Townsend), Eddie begins to have a say on the scenarios. As a first step in working to that of Beverly Hills Cop II , then by implementing a script by John Landis of his own: A prince in New York .
Spike Lee for his return in 1988 with a comedy, School Daze , on color differences in Afro-American universities, thus confirming the foot afo-American filmmakers to the caustic humor and realistic even, dare I say, politics.
All these productions have in common roles "normalized" and diverse, a variety of topics, allowing representation of sexuality and finally the emergence of talent (they are actors and actresses, or chief operators, technicians, casting directors, costume ...) I think Collage Tisha Campbell, Samuel L. Jackson, Damon and Keenen Ivory Wayans, John Witherspoon, Laurence Fishburne, Kadeem Hardison, Ruth E. Carter, Wynn Thomas, Ernest R. Dickerson...

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