Which Way Is Up?

Based on "The Seduction of Mimi", this Americanized version of the script loses much in the translation. Significantly damaged are the cutting social satire and the tragic aspect. The original, dealing with radical Italian politics and labor issues, Italian concepts of family honor, traditional Italian gender roles and an intimidating pyramid of social corruption MIGHT have worked here IF the Hollywood scriptwriters knew how to superimpose a uniquely American template onto these themes and redrew the map to fit. Instead they used the original script verbatim and threw-out anything too idiomatic, replacing political irony with rather dumb 70s TV sitcom jokes.

This left Pryor in the unenviable position of having to shore-up this spineless farce. He's left pretty much on his own. As in too many Peter Sellers movies, he's given free reign to pad the scenes with comic improvisation. In front of an audience Pryor was a genius at this. The camera just doesn't pick it up here. Most of his valiant efforts fall flat. Both Margaret Avery and Marilyn Coleman give more finely tuned comedic performances.

Pryor may actually be miscast. The role of Leroy calls for a Chaplineque everyman caught in the middle of tyrannical forces over which he has no control and must constantly deny his ideals and desires in order to survive. The role calls for an idiot, but a sympathetic one, and Pryor isn't credible as a dope. When he attempts to look clueless, he looks like a hip wiseguy trying to look innocent. And that's really funny in the right situation. But here it works like a spice trying to taste bland.

Fortunately, Pryor would try his hand at this type of character in Blue Collar with far better results.

I'm certain most of the blame can be leveled on both the producer and director. Steve Krantz was okay with cartoons, but a total hack at producing live action films. He was probably hovering around impeding the camera-work and making sure there were no retakes. Michael Schultz never made much of his directorial career and is particularly stale in the comedy genre. After some early potential he quickly sold himself out as a Hollywood flunkie for square producers like Krantz.

Five stars for Pryor because anything he's in is worth a look, plus an extra star for Avery, Coleman and gratuitous sightings of Korla Pandit and Hank Worden.

This is a remake of a story written by Director, Lina Wertmuller. It is the story of Leroy Jones, played very capably by Richard Pryor. Pryor steals the show here as he plays Leroy, a migrant fruit picker, his grouchy old father and the local minister. It is the story of Leroy, and his accidental rise to management. Leroy is manipulated by "the man", the president of the Agricultural conglomerate that employs Leroy and his friends. It does a very good job of showing just how one can be seduced by the appearance of power. Leroy loses everything that means anything to him in his rise to management at the "company". The segments where Leroy interacts with his "father" are too funny for words. Pryor doesn't have a great range of acting ability but what he does, he does the best.

Richard had that effect on me! When he was on there has never been anyone who could cause me laugh harder or gasping for breath longer. Dave Chappelle came close, George Carlin was in the neighborhood (he was a bit more cerebral later in his career), Eddie Murphy could from time to time, but for pure standup perfection and improvisation Richard Pryor ruled and for me he always will. He played three roles in 'Which Way is Up', one as funny as the other. However perhaps the Preacher role (Reverend Lennox Thomas) especially for the roles pure unadulterated hypocrisy due to the "Reverends" unchecked ardor and avarice (remind you of any of the Evangelists of today?) made me laugh the most but this whole movie was funny from beginning to end. Richard you left us too early, miss you man!

When I started watching "Which Way Is Up?" I didn't realize that it focuses on labor issues. Richard Pryor is in his usual comedic form - playing a triple role, no less - but this is actually more of a serious role for him. It's apparently a remake of a Lina Wertmüller movie (I've never seen the original). This makes me wish that Lina Wertmüller had directed Richard Pryor in a movie; maybe she could've cast him as a rule-trashing cool dude who takes on Mussolini.

Anyway, the movie does draw attention to unions, and management's efforts to stifle it. And there's no shortage of Richard Pryor's comedy. Worth seeing.

Also starring Margaret Avery (Shug in "The Color Purple"), DeWayne Jessie (Otis Day in "Animal House") and Tim Thomerson (of the Trancers franchise).

For anyone wanting to experience the comic genius which was Richard Pryor, this movie is the starting point. This movie is often neglected. Most bios of Richard Pryor emphasize his concert films, many of which are good and hilarious. Some bios point out to his other movies like Car Wash; but his role in this particular film was far too brief, and was really a cameo appearance. Others cite movies like Stir Crazy or The Toy. However, in these movies his comic genius was either trivialized or squandered.

In this movie he was able to display the fullest array of his talent in one place. Pryor plays three roles in this movie. In the first role he plays the protagonist who is driven away from his home by corporation thugs, makes his life in the big city and returns home with his new spouse and the now changed family that he left behind. The plot and the protagonist is loosely based on the Lina Wertmuller film, The Seduction of Mimi. In the second role, he plays his father, which in reality is a concert character which is based on his own invention, Mudbone. In the third role he plays the Minister Lennox, another familiar Pryor invention.

The movie does have some drawbacks, primarily of which is the music, which is a faux-disco Hollywood standard soundtrack. At times, the movie seems a bit dated. What is not dated is the humor. The movie is hilarious and a showcase of the many sides of Richard Pryor. While Richard Pryor will be missed, this movie should not.