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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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