"There's a thin line between to laugh with and to laugh at."
- Richard Pryor
I miss Richard Pryor. Not that he has really gone anywhere. A long-time sufferer of multiple sclerosis (since 1986), Pryor has not appeared in a film since David Lynch's Lost Highway (97). I grew up watching Richard Pryor films like: Silver Streak (76), California Suite (78), Stir Crazy (80), Superman III (83, for which he received a salary of 4 million dollars), Brewster's Millions (85) and most importantly, The Toy (82). It may sound funny, but Richard Donner's The Toy (82) had more of a profound impact on me as a child, than any other single film I can think of growing up. In a way, Richard Pryor was like my half-crazy, unbalanced baby-sitter growing up in the early 80's. It wasn't until much later that I discovered the "other" side of Richard Pryor. We use words like "talent", "brilliant" or "genius" like we recite brand names on clothing labels, but nothing quite describes the impact that Pryor's stand-up had on the world. He once said:
"Comedy rules! Don't let anybody tell you otherwise, and there are no rules in stand-up comedy, which I really like. You can do anything you want and you can say anything that comes to mind - just so long as it's funny. If you ain't funny then get the fuck off the stage, it's that simple."
Partly from imdb:
"He was born: Richard Franklin Lennox Thomas Pryor on December 1, 1940 in Peoria, Illinois. His nickname was "Ritchie". After dropping out of school, Pryor (who claimed to have grown up in a brothel) served a two-year hitch in the Army (58-60), then started working in nightclubs, eventually making a name for himself making appearances on TV and in the occasional film (Wild in the Streets 68, Lady Sings the Blues 72, The Mack 73). He also worked as one of the writers of Mel Brooks' classic comedy spoof Blazing Saddles (74) and was originally meant to play the role of Bart, but due to the controversial nature of his stand-up routines of the day and his background, Mel Brooks couldn't secure financing for the project. So Pryor was made a co-writer of the script, and Cleavon Little played Bart. Pryor was also originally considered for the role of Billy Ray Valentine in Trading Places (83), before Eddie Murphy ultimately won the part. As censorship barriers began to fall, Pryor came into his own; his profane but sharp-eyed observations about American life and the black experience made him hugely popular. He made his mark with several infamous concert movies: Richard Pryor-Live in Concert (79, and probably the best), Richard Pryor Live on the Sunset Strip (82) and Richard Pryor Here and Now (83) before turning almost completely to Hollywood.
His NBC comedy series was canceled after just a handful of shows in 1977 but he went on to become a household name regardless, thanks to films like: Car Wash, The Bingo Long Traveling All-Stars & Motor Kings (both 76), The Wiz and Blue Collar (both 78). Pryor's on-screen chemistry with actor Gene Wilder in the Hitchcock send-up Silver Streak (76) was so well received, that the two actors went on to star in three other comedy vehicles together: Stir Crazy (80), See No Evil, Hear No Evil (89) and Another You (91). Pryor's career came to a temporary halt at the start of the 80's; while preparing a highly volatile cocaine mixture called freebase, he lit himself on fire, suffering third-degree burns over half his body (He was about to start filming Mel Brooks' History of the World-Part I and was replaced at the last minute by Gregory Hines). The comedian made an amazing recovery, and reflected on his tumultuous life in the autobiographical comedy-drama Jo Jo Dancer, Your Life Is Calling (86) which he co-wrote, produced, and directed. A few more lackluster films followed but failing health (due to the on-set of multiple sclerosis) made it difficult for him to get through his last film with Gene Wilder in 1991, but he managed somehow; it just seemed a shame to expend that effort for a movie that (like so many others before it) failed to make the most of his unique comic gift. In addition to accolades for his screen work, Pryor has won several Grammy awards for his comedy recordings. In April of 2004, he was chosen as #1 in Comedy Central's 100 Greatest Stand-Ups of All Time."
So, you can see, his life has made up more than a few volumes worth of biographies. Pryor continues to battle MS to this day. It would be ridiculous of me to say that I should want to give something back to him, but I suppose writing this feeble tribute is all I really can do. If you've never seen a Pryor film or heard Pryor's stand-up, any time or place is a good one to start. While The Toy may be the most instrumental of his films in my life, Blue Collar is in my opinion, the best performance I ever saw him give. If it seems kind of funny to you that a little white kid be so enamored with such an outspoken and ribaled black performer, the truth of the matter is: true comedy knows no color. Neither does film. And neither should we.
Richard Pryor on the Exorcist (from 1974)
(Commenting on his job as a boxing gym sparring partner): "I always had to fight the guys who looked like they just killed their parents."
- Richard Pryor
I miss Richard Pryor. Not that he has really gone anywhere. A long-time sufferer of multiple sclerosis (since 1986), Pryor has not appeared in a film since David Lynch's Lost Highway (97). I grew up watching Richard Pryor films like: Silver Streak (76), California Suite (78), Stir Crazy (80), Superman III (83, for which he received a salary of 4 million dollars), Brewster's Millions (85) and most importantly, The Toy (82). It may sound funny, but Richard Donner's The Toy (82) had more of a profound impact on me as a child, than any other single film I can think of growing up. In a way, Richard Pryor was like my half-crazy, unbalanced baby-sitter growing up in the early 80's. It wasn't until much later that I discovered the "other" side of Richard Pryor. We use words like "talent", "brilliant" or "genius" like we recite brand names on clothing labels, but nothing quite describes the impact that Pryor's stand-up had on the world. He once said:
"Comedy rules! Don't let anybody tell you otherwise, and there are no rules in stand-up comedy, which I really like. You can do anything you want and you can say anything that comes to mind - just so long as it's funny. If you ain't funny then get the fuck off the stage, it's that simple."
Partly from imdb:
"He was born: Richard Franklin Lennox Thomas Pryor on December 1, 1940 in Peoria, Illinois. His nickname was "Ritchie". After dropping out of school, Pryor (who claimed to have grown up in a brothel) served a two-year hitch in the Army (58-60), then started working in nightclubs, eventually making a name for himself making appearances on TV and in the occasional film (Wild in the Streets 68, Lady Sings the Blues 72, The Mack 73). He also worked as one of the writers of Mel Brooks' classic comedy spoof Blazing Saddles (74) and was originally meant to play the role of Bart, but due to the controversial nature of his stand-up routines of the day and his background, Mel Brooks couldn't secure financing for the project. So Pryor was made a co-writer of the script, and Cleavon Little played Bart. Pryor was also originally considered for the role of Billy Ray Valentine in Trading Places (83), before Eddie Murphy ultimately won the part. As censorship barriers began to fall, Pryor came into his own; his profane but sharp-eyed observations about American life and the black experience made him hugely popular. He made his mark with several infamous concert movies: Richard Pryor-Live in Concert (79, and probably the best), Richard Pryor Live on the Sunset Strip (82) and Richard Pryor Here and Now (83) before turning almost completely to Hollywood.
His NBC comedy series was canceled after just a handful of shows in 1977 but he went on to become a household name regardless, thanks to films like: Car Wash, The Bingo Long Traveling All-Stars & Motor Kings (both 76), The Wiz and Blue Collar (both 78). Pryor's on-screen chemistry with actor Gene Wilder in the Hitchcock send-up Silver Streak (76) was so well received, that the two actors went on to star in three other comedy vehicles together: Stir Crazy (80), See No Evil, Hear No Evil (89) and Another You (91). Pryor's career came to a temporary halt at the start of the 80's; while preparing a highly volatile cocaine mixture called freebase, he lit himself on fire, suffering third-degree burns over half his body (He was about to start filming Mel Brooks' History of the World-Part I and was replaced at the last minute by Gregory Hines). The comedian made an amazing recovery, and reflected on his tumultuous life in the autobiographical comedy-drama Jo Jo Dancer, Your Life Is Calling (86) which he co-wrote, produced, and directed. A few more lackluster films followed but failing health (due to the on-set of multiple sclerosis) made it difficult for him to get through his last film with Gene Wilder in 1991, but he managed somehow; it just seemed a shame to expend that effort for a movie that (like so many others before it) failed to make the most of his unique comic gift. In addition to accolades for his screen work, Pryor has won several Grammy awards for his comedy recordings. In April of 2004, he was chosen as #1 in Comedy Central's 100 Greatest Stand-Ups of All Time."
So, you can see, his life has made up more than a few volumes worth of biographies. Pryor continues to battle MS to this day. It would be ridiculous of me to say that I should want to give something back to him, but I suppose writing this feeble tribute is all I really can do. If you've never seen a Pryor film or heard Pryor's stand-up, any time or place is a good one to start. While The Toy may be the most instrumental of his films in my life, Blue Collar is in my opinion, the best performance I ever saw him give. If it seems kind of funny to you that a little white kid be so enamored with such an outspoken and ribaled black performer, the truth of the matter is: true comedy knows no color. Neither does film. And neither should we.
Richard Pryor on the Exorcist (from 1974)
(Commenting on his job as a boxing gym sparring partner): "I always had to fight the guys who looked like they just killed their parents."
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