Director Report Card: John Landis (1988)

11. Coming to America  

While neither “Spies Like Us” nor “¡Three Amigos!' were full-blown bombs, they weren't huge hits either. It was clear that John Landis' reputation had been unquestionably, rightly stained by the “Twilight Zone” tragedy. According to Eddie Murphy, he felt bad for Landis and specifically sought him out to direct his next movie. The director and star feuded throughout filming of “Coming to America.” Murphy says Landis was an asshole. Landis says Eddie was an egomaniac. Regardless of how production went, “Coming to America” would become a massive money-maker. While Murphy's then-status as one of the biggest stars in the world probably had a lot to do with that, “Coming to America” is still warmly regarded as a classic of eighties comedy.

Akeem Joffer is the crown prince of Zamunda, a fabulously wealthy African country. He lives a charmed life but finds a world where literally everything is done for him dissatisfying. He's especially disinterested in the arranged marriage his royal parents have planned. Akeem wants to find true love. He decides to begin this journey in America, choosing the Queens neighborhood of New York City. He arrives in the city with his royal assistant/best friend Semmi, pretending to be a poor student and finding work at a fast food joint. Akeem soon falls for Lisa, the intelligent daughter of his boss. However, winning Lisa's heart – and outrunning his royal destiny – may be more difficult then first thought.

Perhaps there's another reason why Murphy chose Landis to direct “Coming to America.” The director had almost come to specialize in fish-out-of-water stories by this point. “American Werewolf in London,” “Trading Places,” “Spies like Us,” and “¡Three Amigos!” all contained elements of that well-worn story device. “Coming to America” belongs to this tradition as well. Going from the world of royalty to the rough streets of Queens is quite a culture shock. Landis was a fitting choice to direct for another reason. If “Trading Places” was a homage to classic screwball comedies, “Coming to America” is a throwback to romantic comedies of the same era. Landis' ability to update classic formulas for modern audiences was clearly well used in both films.

The real reason “Coming to America” works is because its lead character is so damn likable. Despite his royal upbringing, Akeem has no pretensions. He is kind and courteous. He welcomes everyone with a open and grateful heart, if they be the deadbeat landlord or nutty barbers he encounters in the city. No matter how meager the circumstances he finds himself in the city, he tries to make the best of them. He genuinely wants the best for Lisa and feels bad about any deception. He's also an awkward dork, in scenes where his cluelessness about city living are shown or when he attempts to make small talk with Lisa's dad. Murphy discards his usual smart-ass act, instead using all his charm to create a genuine and kind-hearted fellow.

Another reason “Coming to America” is successful is because of how well balanced its script is. There's a reason screenwriting classes the world over teach the three act structures. It's immensely satisfying when it works. Events set up earlier – Akeem and Semmi's training sessions, the misunderstanding with his dad concerning the purpose of his journey – all pay off perfectly in the film. These events build upon other things happening in the film, such as Akeem further earning Lisa's respect or providing a proper dramatic motivation needed in the last act. In comedy, a genre where laughs are sometimes valued more than story, it's nice to see a film that puts so much effort into creating a well-executed story.

That is except for one flaw that causes the movie to end on a somewhat sour note. Lisa learns that Akeem is a prince, after the two fathers have a talk. He comes to her in a grungy subway and the two have a heart-to-heart, the prince throwing himself on her mercy in a very genuine manner, an emotional sequence that works beautifully. After that... “Coming to America” skips ahead to the end. We never see the two reconcile, the pay-off of their emotional conflict never playing out on screen. It's an odd screenwriting choice, that leaves “Coming to America” concluding on a note that feels somewhat incomplete.

The opening scene of “Coming to America” depicts something rarely seen in American cinema. We see black faces, black bodies in a position of cultural power. The Joffer regime is so prosperous, they can afford every ridiculous comfort you can imagine. Like a pet elephant, that Murphy graciously pets in one sequence. As a pasty white dude from the suburbs, I'm probably not the best person to speak about this. But it seems important to me that a film put this kind of fantasy up on-screens and tailor it specifically to black audiences. (And, of course, it's a fantasy as the film does not invite us to think about how absurdly rich kingdoms like the Joffers make that money.) “Black Panther” touched on something similar a few years ago and I can only imagine how much more surprising it must've been thirty years earlier.

Once the story arrives in Queens, “Coming to America” does something else that John Landis has been good about in his other movies. That's establishing a sense of time and place. Not long after finding their apartment in Queens, Akeem and Semmi buy clothes from a shop. They step out in baseball caps and puffy jackets adorn with oversized buttons and pins. For those that weren't there, this gives you a really good idea of what fashion was popular at the time. The focus on city life is further emphasized throughout much of the movie. New York City doesn't look like this anymore, making “Coming to America” a time capsule in more ways than one. It's interesting to see and adds a lot of personality to the film too.

During pre-production on “Coming to America,” John Landis convinced Eddie Murphy that make-up master Rick Baker could make him into an old Jewish man. (As blow-back against the vaudeville community's history of blackface.) Murphy didn't believe him, was put in the make-up, went around the back lot, and was surprised that nobody recognized him. This encouraged Murphy to have Baker turn him into a number of other characters. This leads to a number of brilliant scene, where Murphy allows his versatile skills as an impersonator to be stretched. He's hilarious as a loud-mouthed barber, an amusingly acerbic old Jewish guy, and as the leader singer of a soul band that greatly overestimates his own talent. At this point in his career, Eddie Murphy was so talented and funny that he literally couldn't be contained to one character per film.

If Murphy is perfect in the lead role, his sidekick is also ideally cast. Arsenio Hall was only making his second cinematic appearance here, after first appearing in Landis' “Amazon Women on the Moon” segments. He proves to be a very confident comedic performer. As Semmi, he's a hilarious counterpart to the always-optimistic Akeem, being more annoyed and critical of the situation he's in. Hall also gets to hear several elaborate make-ups, playing different characters. The best of which is a pastor who can barely disguise his not-so-pastorly intentions. (Though the sequence of him in drag, disgusting the two guys, has obviously aged very poorly.)

Hall is just the most notable member of an accomplished supporting cast. John Amos is frequently hilarious as Mr. McDowells, Akeem's practically-minded employer. Amos is extremely good at delivering absurd dialogue in perfectly dry manner. James Earl Jones is, of course, highly dignified as the king of Zamunda. Even better is when Jones has a chance to subvert that image with a wild line or two. Shari Headley is so very charming as Lisa, so that it's easy to see why Akeem is so immediately smitten with her. Louie Anderson is well used as a co-worker, his particular delivery being well utilized in his few scenes. Even though he wasn't a star yet, Sameul L. Jackson brings the uniquely Samuel L. Jackson-esque energy to his small role.

Simply put, “Coming to America” is a really funny film. Whether you want to give Murphy or Landis credit, the film has so many wonderfully goofy and sharp gags. Look at the “Soul Glo” commercial, which exaggerates the real tropes of eighties commercial to such an absurd level, that it makes all the real commercial look ridiculous by association. (The drippy Jheri curl then becomes a running gag, that crops back up at several choice moments.) Similarly, the ridiculous opulence of life in the Zamunda palace is funny for its obvious ridiculousness. The film then subverts what it's already set up, when flower girls are forced to walk faster or slowly exit a room. “Coming to America's” comedic spirit is so perfectly executed that even gags that should be hoary – an animal reaction shot, New Yorkers being rude – become much funnier than they otherwise would've been.

Then again, maybe I shouldn't give Landis or Murphy much credit. “Coming to America” was the subject of a notable intellectual property lawsuit. Author Art Buchwald claimed that Paramount previously optioned a treatment he wrote for a similar story. Even though it seems like his idea was more-or-less used for the finished movie, Buchwald's name mysteriously disappeared. The studio settled out-of-court. Whatever its origins, “Coming to America” is really damn good. So good, that I'm even kind of looking forward to the thirty-three years later sequel still currently set to come out in December. Even if the switcharoo premise, which would see Akeem's son coming to Zamunda, is pretty lazy, I like these characters enough to want to spend more time with them. [Grade: A-]