The Original Kings of Comedy (2000)
Well-directed, very funny in several spots, topical without being offensive, THE ORIGINAL KINGS OF COMEDY shows off the routines of four leading African American comedians – Steve Harvey, D.L. Hughley, Cedric the Entertainer, and Bernie Mac. This performance of the `Kings of Comedy' tour was filmed at the Charlotte Coliseum by director Spike Lee.
Steve Harvey works well in his role of comedian and master of ceremonies. His function effectively divides his routine into several spots, each several minutes long; Harvey provides very flattering introductions for Hughley, Cedric the Entertainer and Mac.
Harvey also seems to be very good-natured in his approach to comedy. Although he is not above being arch and downright earthy, Harvey enjoys himself immensely and frequently laughs at his own jokes. Just the spectacle of his imitating a black person aboard the Titanic is hilarious!
D.L. Hughley also does a very enjoyable routine. Like all of his colleagues, Hughley addresses racial issues, but never handles them offensively: his jibes at white people in the audience are fun-loving and accurate.
Cedric the Entertainer is perhaps the most energetic among the performers. His crazy dances, imitations, and footwork are funny because of their topics as well as their incongruity: such antics from a round bear of a man in a sweater, gold chain and fedora are indeed amusing.
Bernie Mac was hard to read. In sequences filmed outside, in what seemed to be a playground, he is well-spoken and clear. Yet in his routine, Mac speaks in a fast-paced jumble, often hard to comprehend. Is this part of his act – a persona designed to reflect both his jokes and culture – or is it a result of his hard-edged pace? In any case, Mac used the most profanity in his routine, frequently overusing obscenities for their own sake. Although I found his methods to be the least likable of the four stand-up masters, Bernie Mac does tell a very good visual joke.
Spike Lee is smart not to intrude upon the acts of the four stars. Lee employs occasional montages – women from the audience posing for the camera, the comedians goofing around on a playground and backstage – and these brief sequences lend nice variation to the stage acts. On the whole the direction is smooth, the editing tight. The stage decoration is also tasteful and appropriate, the backdrop a jewel-studded crown, with satiny shapes adorning the curtains.
I would recommend this film mainly for its target audience, African Americans above age 16. But its flavor extends certainly to all races, as most of the topics and interests are universal. Though I did not get actual belly laughs from any of the content, the routines kept me laughing steadily.
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