True Identity is a comedy about a black actor named Miles Pope who wants to play a part in Othello. After a plane ride home from a failed acting job Miles meets a producer named Leland Carver who slips out his mob identity when the plane is about to crash but after all of that the plane does not crash. Now Miles is the only man who knows the past to this mob man. Miles gets the help of his best friend make-up artist Duane to turn him into a White man. As Miles is packing his stuff to get out of town, the hitman walks in and a struggle is in affect. Miles wins the fight and kills the hitman in an electrical fashion. Now Anthony (Leland Carver's top man) comes in to confirm that Miles is dead. Now Miles is mistaken as the hitman. Now Miles must assume a parade of identity's to get away from the Mob's guns hot on his trail. Written by
D.B. Dickerson <firstname.lastname@example.org>
This film was designed as a vehicle for Lenny Henry as part of a 3-picture deal the actor signed with the Walt Disney Company, which thought that he had the potential to be a big star in the United States. When this film flopped at the box office, Henry's deal with Disney was canceled, and the other films were never made. See more »
Yo, Frankie, when you get to jail, you might want to talk to some of the brothers on your views of racial equality.
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a flimsy scenario further undermined by weak writing
A struggling New York City actor enlists the help of a movie make-up artist after finding himself on mafia boss Frank Langella'a hit list (never mind why). The idea was suggested by an old Saturday Night Live skit featuring Eddie Murphy in Caucasian drag, and that one joke is expanded here by its original author into a contrived action-comedy partially redeemed by the enthusiastic efforts of a talented cast, led by newcomer Lenny Henry. The British comedian takes advantage of his feature film debut with an engaging comic performance, highlighting his gift for mimicry while disguised (courtesy of some astonishing prosthetic make-up) as a reluctant white man. But the feature length padding is all too obvious, and it's hard to ignore the script's TV roots when every labored plot complication seems sit-com inspired. To its credit the film doesn't pretend to be anything more than an amusing diversion, but the limited comic potential of the source material is such that the funniest scene (with Henry masquerading as James Brown's younger brother) has nothing to do with the racial identity-switch plot hook.
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