Despite the good surprise of the last third of the 80, the latest comedy I will mention that - Not us, not us - is unfortunately closer to turnips as The Toy as Robert Townsend's satire or promising Coming to America.
Karu Wally (Richard Pryor) is blind and he is also an inveterate gambler looking for a job. He was hired by Dave Lyons (Gene Wilder), a deaf and who reads lips, which have a small kiosk. But a murder takes place the shop
Wally heard the gunshot and felt the scent of the murderous, Dave saw his legs ... and the two are soon regarded as the main suspects. And thickens when the Eve-and deadly-Kirgo (Joan Severance & Kevin Spacey) Provide hands on the unfortunate witnesses. Wally and Dave are forced to unravel this case, while escaping from gangsters and police.
Heavy is the least of qualifiers that can be used to summarize this film. The duo Pryor / Wilder had already plaguing Stir Crazy at the beginning of the decade, and their reformation is not an auspicious ...
Again the acting skills of each other is not an issue, but rather the script yet supervised and edited by Pryor, who is involved. And the prevailing sentiment, especially when we saw Trading Places , Hollywood Shuffle or I'm Gonna Git You Sucka is that this film did not take the turn comedy modern: the achievement is the more conventional springs while the comedy between the two characters are a pair of 60s.
And to refocus on the angle by which I refer to these films, the racial question, it is almost invisible here, overshadowed by the disadvantages of the two protagonists.
But there are still some outstanding features of the representation of blacks conveyed by the comedies of the 80s. First sexual differentiation: the white hero-not prettier than black-and embraces a woman woos, when black just talk about sex without passing the act (he pretends to be a world-renowned gynecologist ). On the other hand, blindness Pryor's character requires him to constantly play with your eyes wide open, rolling his pupils as the cartoons of the early twentieth century. Both
bad guys are still pretty tasty caricature: the dandy played by an unscrupulous any youngster Kevin Spacey, and the beauty of venomous Joan Severance. 
Heavy is the least of qualifiers that can be used to summarize this film. The duo Pryor / Wilder had already plaguing Stir Crazy at the beginning of the decade, and their reformation is not an auspicious ...
Again the acting skills of each other is not an issue, but rather the script yet supervised and edited by Pryor, who is involved. And the prevailing sentiment, especially when we saw Trading Places , Hollywood Shuffle or I'm Gonna Git You Sucka is that this film did not take the turn comedy modern: the achievement is the more conventional springs while the comedy between the two characters are a pair of 60s. And to refocus on the angle by which I refer to these films, the racial question, it is almost invisible here, overshadowed by the disadvantages of the two protagonists.
But there are still some outstanding features of the representation of blacks conveyed by the comedies of the 80s. First sexual differentiation: the white hero-not prettier than black-and embraces a woman woos, when black just talk about sex without passing the act (he pretends to be a world-renowned gynecologist ). On the other hand, blindness Pryor's character requires him to constantly play with your eyes wide open, rolling his pupils as the cartoons of the early twentieth century. Both 
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