Joe Braxton is an ex-con who has been given a second chance to freedom after violating his probation. He has been hired by a school teacher named Vivian Perry to repair and drive an old ... See full summary »
Angel Ramirez Jr.
Richard Pryor is playing three different roles here. The first being a poor orange picker named Leroy Jones who gets laid off when by mistake he joins the worker's union during one of their... See full summary »
Tired of the slave-like treatment of his team's owner, charismatic star Negro League pitcher Bingo Long takes to the road with his band of barnstormers through the small towns of the Midwest in the 1930's.
Billy Dee Williams,
James Earl Jones,
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James Earl Jones
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In this film that closely parallels his own life story, Richard Pryor plays Jo Jo Dancer, a popular stand-up comedian who has severely burned himself in a drug incident. As he lies unconscious in a hospital, his spiritual alter ego gets up and begins a journey of his own. He revisits his life, from growing up in a brothel as a child and struggling to beat the long odds to become a top rated comedian. However, his success brings new problems as he develops a tragic pattern of substance abuse that begins to screw up his life. All the while, Jo Jo's spirit watches these events and attempts to convince his past self to turn off from his path of self destruction. Written by
Kenneth Chisholm <email@example.com>
Reflecting on his own addiction, Richard Pryor said, "There's a reason they call alcohol 'spirits'. There are demons in all of us which booze and drugs awaken . . . which grow stronger the more we continue to use them". Before he could exorcise his own demons, Pryor first had to "hit the wall . . . bottom out". Then came a process of personal reflection like taking stock that Pryor called "taking inventory". He said, "When you mess up . . . and remember, you're talking to an expert . . . the only way to put that stuff behind you and get on with your life is to be brutally honest. Self-deception is one of the worst drugs there is". Out of his inventory emerged the first shadowy perception of the character of Jo Jo Dancer, and a decision to accept a challenge which he'd anticipated throughout his career, yet had frequently rejected. See more »
Jo Jo Dancer:
[to his wife as he gets on the bus]
I'm gonna write you, I'm gonna write you.
See more »
I'm not sure if a biographical film as raw and truthful as "Jo Jo Dancer" ever had a chance to be a big financial hit. But viewed now, more than 15 years later, it is obvious that the film did not deserve the critical drubbing it got back in the day. Writer-director-producer-star Richard Pryor created a very strong film, simultaneously entertaining, funny, pathetic, provocative, heartbreaking, revealing, and raw. Two things held it back. Firstly, it was too rough for the super-slick mid-80s, being shot and structured more like a seventies film. Secondly, even though the climax of the film--Jo Jo setting himself on fire in a harrowing, drug-fueled despair--is powerful, it lacks a sense of closure. Sadly, the reason for this is that, like the real life Richard Pryor upon whose life the story is based, Jo Jo doesn't die at the end. He is badly burned and we are briefly shown that he lives to continue his career, just as Pryor did.
The story is told through flashbacks, after Jo Jo has set himself on fire, focusing on how he got to that point. Since the story abruptly ends soon after his suicide attempt, however, we are not shown much of what happens after that point. In an odd bit of irony, Jo Jo's survival then makes for an unsatisfying conclusion, story-wise. It's as though Pryor is saying, hey I burned myself up and that made me all better. It just isn't satisfying.
Other than those minor points, however, "Jo Jo" is a fine film that stands as one of the best of Pryor's spotty film career, and one of the very few dramatic films that allowed his unique brand of rage and vulnerability to show through completely ("Blue Collar" and "The Mack" being two others).
Not a classic, but certainly not the bomb it was painted as in '86. And, I might add, head and shoulders above the majority of dramatic films cranked out by hollywood today.
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