09-19-2016, 05:55 PM
Rudy Ray Moore is Dolemite. He's a mean-ass, tough-ass, kick-ass son of bitch. He may sag with his shirt off and have a bit of a gut, but there's strength in them thar thews, and when the straits turn dire, he turns kung fu fighter extraordinaire.
In this tale, Dolemite tries to protect the night club where he does stand-up comedy. When a competing night club steals their girls and shuts them down, Dolemite sets out to rescue the girls and deal with the villains.
There's one sequence where Dolemite goes to the villain's house and presents himself to the villain's moll as a French-accented "artiste" selling his wares door-to-door. He gains entry by wowing her with a hideous black velvet painting, leading to an outrageous tryst that impressed me with its surrealism.
The fight choreography is all over the place, some if it laughable, some of it surprisingly solid. But at the center of it all is Rudy Ray Moore, as Dolemite, and he's so outrageous that the rest of the cast has a hard time keeping a straight face when he squares off to fight.
He has a trademark lead-in to a fight that you see several times: he steps forward, shifting side to side, weaving his hands slowly before him, then shifts his head shoulder to shoulder (better than most Egyptian dancers!), after which he shakes his head and makes a blubbering sound with his flopping lips. I kid you not. At that point you'd better be prepared for a Dolemite beat-down.
There's ample nudity, and not the air-brushed Playboy mannequin type. These are real flesh-and-blood women (and men), with some true stunners.
I don't mean to oversell this movie. It's mostly crap. Rudy Ray Moore's stand-up routine in the opening is ghastly, and many scenes are slow and directionless. The acting isn't all that great. Also, for story conflict, the movie relies almost entirely on the implausible premise that policemen target blacks.
(Am I supposed to use a smiley at this point?)
All in all, I doubt I'll see any more Rudy Ray Moore movies of similar vein, though there's some temptation. I laughed out loud several times on this one.
In this tale, Dolemite tries to protect the night club where he does stand-up comedy. When a competing night club steals their girls and shuts them down, Dolemite sets out to rescue the girls and deal with the villains.
There's one sequence where Dolemite goes to the villain's house and presents himself to the villain's moll as a French-accented "artiste" selling his wares door-to-door. He gains entry by wowing her with a hideous black velvet painting, leading to an outrageous tryst that impressed me with its surrealism.
The fight choreography is all over the place, some if it laughable, some of it surprisingly solid. But at the center of it all is Rudy Ray Moore, as Dolemite, and he's so outrageous that the rest of the cast has a hard time keeping a straight face when he squares off to fight.
He has a trademark lead-in to a fight that you see several times: he steps forward, shifting side to side, weaving his hands slowly before him, then shifts his head shoulder to shoulder (better than most Egyptian dancers!), after which he shakes his head and makes a blubbering sound with his flopping lips. I kid you not. At that point you'd better be prepared for a Dolemite beat-down.
There's ample nudity, and not the air-brushed Playboy mannequin type. These are real flesh-and-blood women (and men), with some true stunners.
I don't mean to oversell this movie. It's mostly crap. Rudy Ray Moore's stand-up routine in the opening is ghastly, and many scenes are slow and directionless. The acting isn't all that great. Also, for story conflict, the movie relies almost entirely on the implausible premise that policemen target blacks.
(Am I supposed to use a smiley at this point?)
All in all, I doubt I'll see any more Rudy Ray Moore movies of similar vein, though there's some temptation. I laughed out loud several times on this one.
I'm nobody's pony.
