Coming to America: 30th Anniversary Edition

For Eddie Murphy fans, Coming to America may be seen as just another hit film from a superstar comedian whose every 1980s appearance was pure cinematic gold.  However, unlike his other star vehicles, this film does away with grit and violence (exemplified by Beverly Hills Cop and The Golden Child) and allows audiences to see another side of the actor without depriving them of the wit and hilarity he's known for.  Arsenio Hall and a team of excellent supporting actors (including John Amos, Paul Bates and Madge Sinclair) elevate this otherwise routine, cross-cultural love story into a satisfying comedy from beginning to end.

The story follows Prince Akeem (Murphy) of Zamunda, Africa and his friend Semmi (Arsenio Hall) on their journey to America, and more specifically, Queens, New York. A young man of royalty and luxury, Akeem is in search of the perfect bride to be ("I want a woman who will arouse my intellect as well as my loins") and has 40 days to do so before he marries his pre-arranged bride.  His father King Jaffe (James Earl Jones at his most entertainingly bombastic) encourages his son to sow his wild oats before the marriage, and Akeem takes his journey into manhood and maturity by leaving the comfort of his kingdom to the more "humble" environment of urban America.

Once in the States, he disguises himself as a foreign student and adapts to the less-than-royal culture by taking a job at a suspiciously familiar fast-food restaurant called McDowell's owned and operated by Cleo McDowell (John Amos). Cleo is a hard-working father who only wants financial security for his two daughters Lisa (Shari Headley), a down-to-earth woman who is courted by the arrogant, rich boy Darryl (Eriq La Salle), and Patrice (Allison Dean) who is more socially ambitious and takes a liking to Murphy. Predictably, Eddie falls for Lisa and tries to win her heart without revealing his background, but things go awry when the King and Queen (Madge Sinclair) come to visit their son, intent on bringing him back to his country to fulfill his marital destiny.

Arguably, Coming to America is one of Murphy's warmest and most personally creative movies, outside of special effects extravaganzas like The Nutty Professor and The Adventures of Pluto Nash. Some minor controversy followed the film upon its release (it's treatment of his candidate brides as being subservient, the parody of African-American cultural celebrations, and general sexism in the fictional nation of Zamunda were among the primary protests), but by and large it's nearly family friendly with the exception of a topless scene (done briefly, and not too lasciviously), a few hyper-exaggerated F-bombs as well as some "adult situations" (however they may be defined). Unlike his prior films, Murphy's character is not personally required to be street-wise or assume caricatures. As Prince Akeem, he is a simple and sincere young man in search of romance and commitment. He is likable without being too boringly goody-goody.  Hall is also good as the friend who finds it difficult to adapt to the "lower" class, but remains sympathetic, and the two share good chemistry. However, Murphy does get to strut his stuff under different supporting characters, including a barber who tells tall tales to impress, an old Jewish man who hangs out at the barber shop, and as Randy Watson, lead singer of "Sexual Chocolate"  and whose cover of "The Greatest Love of All" is a high point in the movie. Hall gets to do the same as a over-the-top preacher and as a woman who is an active part of the singles scene. The make-up work and their characterizations are convincing and the results are pretty damn funny (even moreso, I think, than Murphy's work in The Nutty Professor).  Allowing both Murphy and Hall to assume different personas is a great way to explore their talent without having to deviate from their lead roles.  

Other comedic moments are non-essential to the plot, but certainly enhance the light mood.  They include a commercial for a hair product called "Soul Glo," a brief reference to the corporate "misunderstanding" between McDonald's and McDowell's ("they have the golden arches, we have the golden arcs"), Louie Anderson's appearance as an ambitious fast food worker, and cameo appearances by Don Ameche and Ralph Bellamy in a clear reference to their memorable characters from Trading Places. I must also point out that Paul Bates, as stoic and stately palace servant Oha, is particularly funny when he in the spotlight. His emotionally charged, operatic love ballad to the Prince and his Queen-to-be is a nuanced but standout performance.

As expected, there is not much violence or physical action in this romance, with the exception of one segment where a gunman (Samuel L. Jackson at his loudest, as always) attempts to rob McDowell's and Eddie saves the day. Interestingly, this scene closely resembles the memorable moment in Beverly Hills Cop where Axel Foley disarms a thug by tripping him up. Whether this scene was meant to be an homage to the other is anyone's guess. However, bits like these allow for repeated viewing even with the main storyline become predictable. 

Unlike other Landis films, sensationalism and cynicism are generally kept to a minimum, allowing the predominantly black cast to avoid any cultural insensitivity or racist stereotypes especially when it comes to African culture. There are times when good taste may be in question (a curious Raheem puts his bride-to-be to test with a series of humiliating commands; a murdered seeing-eye dog is outlined in white tape) but the movie never pushes it to the point of utter tackiness. This is a comedy, after all, and all humor needs some sort of edge. The movie really is a pleasant viewing experience, and all characters are treated with respect.  Compare this film with the unfunny hysteria found in Murphy's later movies like Harlem Nights and Norbit, and it's easy to see why mainstream audiences found Coming to America a kinder, gentler and more enjoyable kind of movie.

Following my review, I did some online research where it was revealed that nothing has been remastered or updated for this 30th-anniversary edition. As with Trading Places, the transfer and supplements are the same as 2007's original production. Once again, it's a shame that something more special wasn't made for this 1980's near-classic, which certainly qualifies as one of Eddie Murphy's best work.

Vital Disc Stats: The Blu-ray

Both movie and bonus materials come on a single platter 25 GB disc, packed in a Blu-ray keepcase and wrapped in a slipcover.  An insert revealing the Digital download code is provided, but nothing else in the way of supplements.  Once the disc popped in, the movie opens up with the Paramount menu and then an animated table of contents.