Harlem Nights (1989) * * *

Directed by:  Eddie Murphy

Starring:  Eddie Murphy, Richard Pryor, Michael Lerner, Redd Foxx, Della Reese, Danny Aiello, Stan Show, Robin Harris, Arsenio Hall, Jasmine Guy

There are three generations of legendary comedians in Harlem Nights (Murphy, Pryor, and Foxx), but some of the bigger laughs exist outside of these three.     Eddie Murphy made his directorial debut with this film, which to date is the only film he has directed,   It's crude, foul-mouthed (a lot of four and twelve-letter words are present) while having a heart at its center.   That's not something you hear often about a gangster film set in the 1930's, especially one featuring three comics known for their liberal use of such words.

Harlem Nights has laughs, but also concerns itself with its plot, which involves Harlem nightclub owners Sugar Ray (Pryor) and his adopted son Quick (Murphy) trying to get out from under the thumb of powerful white gangster Bugsy Calhoune (Lerner) by fixing a boxing match and stealing all of the proceeds.  Harlem is no longer a safe place to run their club, so they want to leave town while tying up old business.  There are other obstacles, such as hassles by a crooked cop Phil Cantone (Aiello) and a devious femme fatale (Guy) with her eyes on Quick.   

The movie has a convincing look and feel of 1930's Harlem, although the dialogue is more contemporary.     Roger Ebert noted his disapproval of the expanded usage of the aforementioned four and twelve letter words in his review.      He asked, "Did Harlem dandies in the 1930's speak like stand-up comedians in the 1980's?"    His point is well taken, but when you pay to see a movie featuring Richard Pryor and Eddie Murphy, you know what you're in for and it's part of the package.    Some audience members would be disappointed if they didn't incorporate part of their stand up personas into the picture.

Pryor was clearly suffering from the effects of multiple sclerosis, which affected him until his death in 2005.    He tries to up his energy level, but he was hampered by his illness.    Still, he manages to give a softer, gentler side to a Pryor we know could be very rough around the edges juxtaposed with his powerful position of nightclub owner/crime family patriarch.     Many of the laughs come from unexpected sources, such as a money man so smitten with one of Pryor's prostitutes that he calls his wife and says, "Listen, I ain't never coming home no more, take it easy."    As the heavyweight champion who is friendly with Sugar Ray, Stan Shaw creates some funny moments, such as when he tells his opponent with a huge, "aw shucks" smile, "Don't take this ass whipping personally."    There is even a fistfight between Quick and Verna (Reese), the madam in charge of the prostitutes, and gives Quick more than a run for his money.

Arsenio Hall (Murphy's co-star in the brilliant Coming To America) shows up for a cameo as a vengeful brother of a man Quick killed.    He spends most of his scenes screaming and crying at the top of his lungs.    The payoff is pretty funny, but Hall has the effect of nails scratching across a chalkboard and the joke goes on far too long.    I suppose Murphy didn't want to cut out any of Hall's scenes.

What is here is a good-looking comedy/gangster film that is a decent way to kill ninety minutes or so.    Murphy's career since this film has been up and down, but in Harlem Nights he still possesses some of the humor and charisma that made him one of the most successful screen comedians of all time.    He made some good films after this one which showcased some versatility (Boomerang, Beverly Hills Cop III, and Metro), while making others which make you scratch your head.