I did not know until last night that this was a biopic, nor was I familiar with the fictitious Dolemite or his actor/creator, Rudy Ray Moore. My prior knowledge of blaxploitation flicks was largely limited to the original Shaft and the genre parody Black Dynamite. If nothing else, I'd learn a few things herein.
In '70s L.A., Moore (Eddie Murphy) struggles to make a name for himself in show business, whether singing or standup. His first success comes from inspiration by street poets, telling naughty stories in rhyme over instrumental music. He develops his Dolemite persona and grows popular enough to launch the career of partner Lady Reed (Da'Vine Joy Randolph). Then he decides to star in an action comedy movie, Dolemite, which doesn't come together easily without major studio support.
Indeed, a recurring theme is that Moore's style appeals far more to Black people than to White people, or at least the industry leaders and professional critics. Meanwhile, Moore and his friends don't find anything funny about hits like The Front Page. I wonder if the racial-cultural comedy gap has narrowed at all since. I myself sometimes thought, "That's it? The whole joke is that he's always swearing and sexually focused?" (No wonder Murphy took the role.) Then again, I didn't get much from uncensored Lenny Bruce either, so maybe it's more about the lowblow flavor of the era.
Fortunately, like some other comedian bios I could name, DIMN does throw in some funny moments outside of the protagonist's deliberate humor. Notably, Dolemite director D'Urville Martin (Wesley Snipes) has a very low opinion of what Moore is doing but doesn't always have the heart to say so. FWIW, the cast also includes Keegan-Michael Key, Chris Rock, Snoop Dogg, and an uncredited Bob Odenkirk.
Still not my kind of movie, but mission accomplished on the learning front. I had no idea Moore was the Godfather of Rap, for example. Maybe next time I'll try a Pam Grier vehicle and hope it's more tasteful.
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