An underemployed reporter finds himself literally purchased as a toy for a rich spoiled brat.An underemployed reporter finds himself literally purchased as a toy for a rich spoiled brat.An underemployed reporter finds himself literally purchased as a toy for a rich spoiled brat.
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Me and my sister used to watch this when we were children and we loved it. In fact, the last time I saw it I was only 8 years old, but I remember why I enjoyed the movie. I was too young to understand the adult politics but trust me this is a wonderful film for kids to watch. If I was to watch it now it will not be as powerful, and I may not even enjoy it. The point is this was a film made for children, and as this is the case only a child, or an adult who watched it and remembers it as a child are able to accurately review and justify it. Pryor's performance was superb and it shows how diverse he was being able to star in a children's film and manage to be so convincing and never patronises the film by under-performing.
Richard Pryor stars as a down and out writer who ends up as a human toy for multi-billionaire Jackie Gleason's son. The combination results in comedy that only a man like Richard Pryor could take and make even funnier.
Shades of his stand up act stand out when the focus is on Pryor and some of the situations he gets himself into and he uses this time to shine. Jackie Gleason played well, too, as the straight man, but I don't think this was his forte, although, come to think of it, this role isn't that much different from the "straight guy" kind of role he played in the "Smokey and the Bandit" films, but he was a LOT funnier in those films than here.
The only problem I have with this film is that it starts to go for the throat of comedy, but ends up being a piece trying to deal with the issues at the time...almost like changing boats in the middle of the stream. The comedy continues throughout, but it changes its content, which distracted me a little.
7 out of 10 stars.
Shades of his stand up act stand out when the focus is on Pryor and some of the situations he gets himself into and he uses this time to shine. Jackie Gleason played well, too, as the straight man, but I don't think this was his forte, although, come to think of it, this role isn't that much different from the "straight guy" kind of role he played in the "Smokey and the Bandit" films, but he was a LOT funnier in those films than here.
The only problem I have with this film is that it starts to go for the throat of comedy, but ends up being a piece trying to deal with the issues at the time...almost like changing boats in the middle of the stream. The comedy continues throughout, but it changes its content, which distracted me a little.
7 out of 10 stars.
I've seen this movie more times than I'd ever admit to, and the thing that keeps me watching is Pryor. He shines in just about every scene he's seen, especially when he's paired with the Wonder-Wheel. It's just that the rest of the film isn't on the level.
That's not to say it's a bad film; it's just not a solid one. This remake of a Francis Veber film (the name escapes me) finds Pryor as Jack Brown, an unemployed writer who seeks a job with a newspaper. He arrives at Bates Industries, run by the powerful industrialist U.S. Bates (Jackie Gleason). He works a variety of odd jobs, incl. a janitor in a department store, where he is spotted by U.S. Bates' spoiled son, Eric, during the afforementioned Wonder-Wheel fiasco. Eric wants Jack as a toy, and this leads to a movie that blends the comedic with the sentimental, and works about half of the time.
The movie does take it's time to illustrate the goings-on in the Bates home. Eric spends much time tormenting Jack; during their first night, he shoots firecrackers at him, among other things. The two of them play air-hockey, and when Jack is beating Eric, the boy quits. Jack questions the boy if his father knows that his son is a quitter, to which Eric replies, "He doesn't care what I am, as long as I stay out of his way." That scene illustrates Eric's m.o.; he's frustrated at the neglect and inattentiveness he receives from his father, and expresses it in rebellious behavior.
That's all good and well, and that scenario does have a positive resolution, but the movie is burdened with unnecessary elements that don't belong in a movie like this. The movie has a racist subtext: Jack essentially allows himself to be bought, even though he says he can't. There's also a subplot towards the end dealing with the Grand Wizard of the Ku Klux Klan that serves no purpose other than to wreck a party. And U.S. Bates' wife, Fancy, is a poorly-drawn character; she comes along with an impressive bust and an annoying voice, and does little that is humorous, aside from her pronounciation of "U.S."
Still, the main reason to see the film is Pryor. See it for no other reason than to see a legend doing what he does best.
That's not to say it's a bad film; it's just not a solid one. This remake of a Francis Veber film (the name escapes me) finds Pryor as Jack Brown, an unemployed writer who seeks a job with a newspaper. He arrives at Bates Industries, run by the powerful industrialist U.S. Bates (Jackie Gleason). He works a variety of odd jobs, incl. a janitor in a department store, where he is spotted by U.S. Bates' spoiled son, Eric, during the afforementioned Wonder-Wheel fiasco. Eric wants Jack as a toy, and this leads to a movie that blends the comedic with the sentimental, and works about half of the time.
The movie does take it's time to illustrate the goings-on in the Bates home. Eric spends much time tormenting Jack; during their first night, he shoots firecrackers at him, among other things. The two of them play air-hockey, and when Jack is beating Eric, the boy quits. Jack questions the boy if his father knows that his son is a quitter, to which Eric replies, "He doesn't care what I am, as long as I stay out of his way." That scene illustrates Eric's m.o.; he's frustrated at the neglect and inattentiveness he receives from his father, and expresses it in rebellious behavior.
That's all good and well, and that scenario does have a positive resolution, but the movie is burdened with unnecessary elements that don't belong in a movie like this. The movie has a racist subtext: Jack essentially allows himself to be bought, even though he says he can't. There's also a subplot towards the end dealing with the Grand Wizard of the Ku Klux Klan that serves no purpose other than to wreck a party. And U.S. Bates' wife, Fancy, is a poorly-drawn character; she comes along with an impressive bust and an annoying voice, and does little that is humorous, aside from her pronounciation of "U.S."
Still, the main reason to see the film is Pryor. See it for no other reason than to see a legend doing what he does best.
When I was a kid I actually loved this movie, but now that I'm a man, I'm kinda horrified by "The Toy." A rich white man buys a black man for his spoiled son? Or at least rents a black man for his son. And they take baths together? Yikes! I love Pryor, but I have to assume he took this gig for the money to feed his notorious crack habit. Moral of this movie? If you're a rich white man you can buy a black man for your son. Can you imagine the firestorm of protest if this movie came out today? And oh yeah, the kid became a real life porn star!!!
"The Toy" is a remake of the French movie "Le Jouet," but writer Carol Sobieski and director Dick Donner have infused it with a racist theme that is specifically American.
US Bates (Gleason), a wealthy, powerful Louisiana industrialist purchases, Jack Brown, a janitor (Pryor) to perform as an object for his spoiled son's amusement.
After an initial period of friction due to young Eric's (Schwartz) obnoxious, selfish behavior, they agree to investigate Bates's personal and professional misbehavior in a home-made newspaper, called "The Toy."
Infuriated, Bates demonstrates to the two investigators that he owns the people who work for him by ordering his assistant named Morehouse (Beatty) to drop his pants on command (he later screams at another assistant "I told you to dance!")
The iconoclastic rebels who finally take down Bates at a Klan fundraiser are Eric's innocent generation who never knew Jim Crow and the truth-burdened, unemployed black man with nothing to lose because he's already at the bottom.
This movie is filled with enough Pryor minstrelsy to keep movie-going Whitey occupied and chuckling, but is at the same time digging deep into the reality and shame of this country's racist past, and, indeed, present. And we haven't even addressed the alcoholic indentured man-servant Barkley (Hyde-White) or the Fraulein-who-cries-Mandingo (Leslie-Lyttle.)
From the buying of Brown to the sycophantic staff to the Senator-for-hire Newcomb (consonance: Nuke 'Em,) US Bates proves that slavery isn't over...people just cost a little more these days.
In this day when skirting the issue of race and playing it safe at the risk of being offensive has crushed any discussion of racism in this country, it's nice to see that Hollywood once had the balls to make a movie that called a spade a...well, you get it.
Oh, and the kid grows up to be a porn star.
US Bates (Gleason), a wealthy, powerful Louisiana industrialist purchases, Jack Brown, a janitor (Pryor) to perform as an object for his spoiled son's amusement.
After an initial period of friction due to young Eric's (Schwartz) obnoxious, selfish behavior, they agree to investigate Bates's personal and professional misbehavior in a home-made newspaper, called "The Toy."
Infuriated, Bates demonstrates to the two investigators that he owns the people who work for him by ordering his assistant named Morehouse (Beatty) to drop his pants on command (he later screams at another assistant "I told you to dance!")
The iconoclastic rebels who finally take down Bates at a Klan fundraiser are Eric's innocent generation who never knew Jim Crow and the truth-burdened, unemployed black man with nothing to lose because he's already at the bottom.
This movie is filled with enough Pryor minstrelsy to keep movie-going Whitey occupied and chuckling, but is at the same time digging deep into the reality and shame of this country's racist past, and, indeed, present. And we haven't even addressed the alcoholic indentured man-servant Barkley (Hyde-White) or the Fraulein-who-cries-Mandingo (Leslie-Lyttle.)
From the buying of Brown to the sycophantic staff to the Senator-for-hire Newcomb (consonance: Nuke 'Em,) US Bates proves that slavery isn't over...people just cost a little more these days.
In this day when skirting the issue of race and playing it safe at the risk of being offensive has crushed any discussion of racism in this country, it's nice to see that Hollywood once had the balls to make a movie that called a spade a...well, you get it.
Oh, and the kid grows up to be a porn star.
Did you know
- TriviaRichard Pryor wrote favorably of his working relationship with Jackie Gleason in his autobiography. He said that the stories Gleason told on set were funnier than anything in the film.
- GoofsWhen Jack is rolling in the inflatable wheel, during a closeup a crew member's hand appears from the right side of the screen to help balance the wheel.
- Quotes
Jack Brown: Angela! Jesus H. Christ!
Eric Bates: Is that her full name?
- Crazy creditsThe closing credits are shown aside four toy darts.
- ConnectionsFeatured in At the Movies: Pryor to Murphy (1983)
- SoundtracksI Just Want To Be Your Friend
Performed by Jeffrey Osborne
Music and Lyrics by Trevor Lawrence and Frank Musker
Details
- Release date
- Country of origin
- Official site
- Languages
- Also known as
- Su juguete preferido
- Filming locations
- 19050 Perkins Rd E, Baton Rouge, Louisiana, USA(Bates estate)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $17,000,000 (estimated)
- Gross US & Canada
- $47,118,057
- Opening weekend US & Canada
- $6,322,804
- Dec 12, 1982
- Gross worldwide
- $47,118,057
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