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Why Wasn’t Eddie Murphy Rudy Ray Moore by Davell Swan
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Circa 1989, cineSOURCE contributor Davell Swan was exposed to the work of Rudy Ray Moore and invited him to be interviewed on his hit cable television program, 'Doghouse'. Moore initially worked as an Arkansas preacher only to become a dancer, R&B singer, edgy comedian and finally an auteur filmmaker. A clip of the interview is available here.
In San Francisco's now gentrified, once radiantly-sleazy grindhouse utopia—Tenderloin's Market Street—stood a phenomenal repertory cinema: The Strand Theater. Circa 1989, it featured a festival honoring Rudy Ray Moore, of the recent Netflix and Eddy Murphy’s “Dolemite” fame.
Jim Morton, guest editor of RE/Search Publication's “Incredibly Strange Films” (1985 and '86) and writer of the syndicated “Trashola” column, dragged an unknowing Heather McCollom and I to the event. This was in connection with the public access television program the two of us produced, “Doghouse”.
"Dolemite" (1975) and "The Human Tornado" (1976), both starring, co-written and co-produced by Moore, were screened. Afterward, Rudy himself provided scathing stand up.
The movies were cinema verité streams of consciousness blasted directly from Rudy's entire being. All concomitant filmmaking or budgetary limitations simply amplified their significant charm. Such an unprecedented combination of wit, preposterous violence and ultimately, love, was impossible to immediately, or completely, grasp.
“Dolemite”, the boldest, yet kindest godfather-figure of a fearless pimp, couldn't be touched or topped by any other personification in blaxploitation let alone straight cinema. (Pam Grier's characterizations, though of a different style, enjoyed a similarity, relative to the emotional power she generated.)
Sartorially stupendous, Moore with his serious mien, in combination with facial expressions and vocalizations unique in all of cinematic if not human history, provided a TOTAL experience that's inexpressible verbally.
We'd humbly ask our dear reader now search YouTube for "Dolemite" to absorb it or other shows from Moore’s oeuvre, see the film’s trailer or this compilation.
Once you have experienced that which cannot be described, you will understand that Netflix and Murphy’s "Dolemite Is My Name" would have a hard time approaching the real thing. Throughout the masterful opening fifteen minutes and beyond, everything's accounted for--'70s-style credits, correct period costumes, a somewhat funky soundtrack along with mildly customized Cadillacs.
Unfortunately, the project is packed with subtlety, which in certain cases may prove entirely admirable, though not so much with a Rudy Ray Moore biopic.
Netflix gives us an attractive, affectionate tribute to an authentic American character, who worked his way up from an Armed Forces entertainment unit to being a more outrageous comedian than Richard Pryor and an indie filmmaking genius, but the "character" is barely present. The project's realistic approach is laudable but the result lacks the proper outrageous verisimilitude.
Further, RRM had a big strong jaw that added personality and power behind his performance. If you're gonna in anyway recreate such a striking personage, why not celebrate it by utilizing a prosthetic facial appliance? Murphy's beautiful sensitivity and marvelous nuance is entirely charismatic—but I wanna see Rudy!
After the Strand showing, as audience members sufficiently unlucky to be seated in the theater's front row were treated to Moore's ruthless comedic assault, I began wondering how I'd introduce myself to Moore. I desperately wanted to request his presence on the set of “Doghouse”, and soon developed an intense panic attack. Going out to the Strand Theater’s lobby, I was terrified, assuming my ostentatious nervousness would invite yet more contempt.
Finally, I approached, introduced myself and received an entirely warm response. Yes, Dolemite, particularly on the comedy boards, was a character based on Rudy's interpretation of something sublimely menacing, but the ingenious impresario himself was a complete pussycat.
Indeed, Moore appeared on “Doghouse” for a fascinating interview, a scene from which can be observed about half way through this highlight reel.
It is about time Moore has received his due. Indeed, project producer and lead, Eddie Murphy, has acknowledged his career-long debt to Moore, as has Snoop Dogg, who has a cameo as a DJ in the film.
Nevertheless, together with accomplished biopic writers Scott Alexander and Larry Karaszewski ("Ed Wood" 1994 and "Man on the Moon" 1999), and director Craig Brewer ("Hustle & Flow" 2005), Murphy supplies a compelling delivery of Rudy's story.
Moreover, Wesley Snipes, as the slightly snotty and quite effete director D'Urville, provides an inspired and unforgettable performance. Da'Vine Joy Randolph as Lady Reed, along with Craig Robinson, who's greatly appreciated by fans of “The Office”, and other talent contribute much additional esprit de corps.
On the other hand: Imagine the film starred a less internationally-famous clown and that it had been produced by Quentin Tarantino, another auteur possessing unstoppable headlong enthusiasm, it could've been a stunning journey into the Rudy Ray Moore cosmos. Alas, that was not to be.
"Dolemite Is My Name”, however, is a gratifying, well-intentioned effort, packed full of insight and which, despite its faults, we'd recommend to be twice-watched.
As a footnote, the internet notes that Moore's daughter Rusty Wesson is suing Netflix for profiting off his character, while she languishes on welfare (more info here.
About the Photos: The top five photos are from Moore's masterpiece 'Dolemite", the next two are from the Murphy-Netflix outing, and focuses on Rudy's comedy career, and the last is of author Davell Swan interviewing Moore on 'Doghouse', his 1980s' Bay Area cable show, along with Penelope Houston, lead singer of The Avengers.
Davell Swan is a culture observer and creator, specializing in punk, Hitchcock, seedy glory and more, who can be reached .