Richard Pryor

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Pauline Kael

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When [Charlie] Chaplin began to talk on-screen, he used a cultivated voice and high-flown words, and became a deeply unfunny man; if he had found the street language to match his low-life, tramp movements, he might have been something like Richard Pryor, who's all of a piece—a master of lyrical obscenity. Pryor is the only great poet satirist among our comics. His lyricism seems to come out of his thin-skinned nature; he's so empathic he's all wired up. His 1979 film "Richard Pryor Live in Concert" was a consummation of his years as an entertainer, and then some. He had a lifetime of material at his fingertips, and he seemed to go beyond himself. He personified objects, animals, people, the warring parts of his own body, even thoughts in the heads of men and women—black, white, Oriental—and he seemed to be possessed by the spirits he pulled out of himself. To those of us who thought it was one of the greatest performances we'd ever seen or ever would see, his new one-man show "Richard Pryor Live on the Sunset Strip" may be disappointing yet emotionally stirring. His new routines aren't as fully worked out…. Pryor doesn't seem as prickly now—he doesn't have the hunted look, or the old sneaky, guilty gleam in his eyes. He says he isn't angry anymore, and he seems to have been strengthened—he's more open. (pp. 184-85)

Pryor doesn't appear sweetened, exactly. Even in the films in which he has played Mr. Nice Guy to children or whites, the stickiness hasn't clung to him; he's shed it. And he's always come clean with the audience. Pryor's best jokes aren't jokes in the usual sense—they're observations that are funny because of how he acts them out and because of his inflections. He constantly surprises us and makes us laugh in recognition. He tells us what we almost knew but shoved down, so when we laugh at him we feel a special, giddy freedom. That hasn't changed—he isn't soft in "Sunset Strip." He tries on some benign racial attitudes and then drops them very fast—that's how you know he's still alive and kicking. He's different, though. You may sense that there has been a deepening of feeling, that there's something richer inside him, something more secure.

At the same time, he's adrift as a performer, because he isn't sure that he's got his act together. And he hasn't. The pressure of a one-man show before a huge crowd and on camera must be just about heart-stopping if you haven't been working in front of big live audiences. And that first film made him a legend; he has the pressure here of an audience expecting history to be made. This film doesn't build the performance rhythm that the 1979 film did; it's very smoothly put together, but in a meaningless way—you don't feel that you're experiencing Pryor's rhythms…. [Pryor] has trouble getting going. He has hunches—he touches on things and you wait to see what he'll do with them. And most of the time he doesn't do anything with them; they don't develop into routines—he just drops them. Midway, he starts getting into his swing, in a section about his experiences during the filming of parts of [Sidney Poitier's] "Stir Crazy" in the Arizona State Prison. He goes on to talk about a trip he took to Africa, and it's a scene—he can live it. He turns himself into a rabbit, a bear, a lion, a couple of cheetahs, and a fearful gazelle. You feel his relief when he does the animals; a lot of the time he...

(This entire section contains 1276 words.)

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has been looking for his place on this stage, and now he has something physical to do. But then there's a sudden break. Voices, ostensibly from the audience, can be heard. One of them calls, "Do the Mudbone routine," and, rather wearily, saying that it will be for the last time, Pryor sits on a stool and does the ancient storyteller Mudbone, who in the seventies was considered one of his great creations. And the movie goes thud. This section feels like an interpolation—it doesn't have the crackle of a performer interacting with an audience. It's almost as dead as what happens when Johnny Carson asks an aging celebrity to tell the joke he used to tell that always broke Johnny up. Pryor looks defeated, shot down. The sudden dullness is compounded by his sitting: we're used to seeing him prowling—accompanied, when the spots hit the curtain behind him, by wriggling shadows.

When he picks up his act again, he talks about freebasing, and the feelings he had about his pipe—it talks to him, and he becomes the pipe. We feel as if we were actually listening to his habit talking to him. And he builds up a routine about his wife and his friend Jim Brown telling him what cocaine was doing to him. But "the pipe say, 'Don't listen.'" And then he tells about the hospital and about Jim Brown's visiting him every day. He's a great actor and a great combination of mimic and mime; he's perhaps never more inspired than when he assumes the personality of a rebellious organ of his body or of an inanimate object, such as that pipe—or Jim Brown. This is the high point of the film. When he becomes something or someone, it isn't an imitation; he incarnates the object's soul and guts. But he doesn't have enough material to work up the rhythmic charge he reached before Mudbone. What he has in "Sunset Strip" is the material for a forty-minute classic.

The picture is full of wonderful bits, such as his demonstration of how he loses his voice when he's angry at his wife, and to those unfamiliar with Pryor's infectiousness and truthfulness and his unfettered use of obscenity, and to all those who missed his 1979 film, it may be a revelation. But the greatness of "Richard Pryor Live in Concert" was in the impetus of his performance rhythm—the way he kept going, with all those characters and voices bursting out of him. When he told us about his heart attack, he was, in almost the same instant, the helpless body being double-crossed by its heart, the heart itself, a telephone operator, and Pryor the aloof, dissociated observer. We registered what a mysteriously original physical comedian he is, and we saw the performance sweat soaking his collarless red silk shirt. (There's no visible sweat this time.)

If he fulfilled his comic genius in "Live in Concert," here he's sampling the good will the public feels toward him. Audiences want him, they love him, even in bum movies, and he appears to be experiencing a personal fulfillment. But he hasn't yet renewed himself as an artist; it may seem cruel to say so, but even the routine on his self-immolation is a pale copy of his heart attack. In the first film, there was a sense of danger; when he used the word "nigger," it was alive and raw. When he uses it here, it just seems strange. He's up against something very powerful: the audience may have come expecting to see history made, but history now is also just seeing Richard Pryor. He knows that he doesn't have to do anything. All he has to do is stand there and be adored. And he knows there's something the matter with this new situation, but he doesn't know how to deal with it. (pp. 185-88)

Pauline Kael, "Comedians" (© 1982 by Pauline Kael), in The New Yorker, Vol. LVIII, No. 7, April 5, 1982, pp. 180, 183-88.∗


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