Like ‘Daddy Rich,’ Pryor was a true king
Comedian was a benevolent ruler who shared talent, experience with all
One of my first memories of Richard Pryor was watching him in a brief role as the hilariously conniving Daddy Rich in “Car Wash.” That was hardly his introduction to American audiences. He had been well-established on the standup circuit for some time by then, becoming a role model for young comics looking to explore terrain few had the nerve to tiptoe into.
And he had already graced the silver screen in such high-profile studio projects as “Lady Sings the Blues” and “Uptown Saturday Night.” He missed out on the starring role in Mel Brooks’ “Blazing Saddles” because the ribald nature of his nightclub act had precluded him in the eyes of studio executives, although he did contribute to the screenplay. He had also written for “The Flip Wilson Show” and “Sanford and Son.”
But the Daddy Rich role serves as an ideal case study in the life of Richard Pryor because it typifies his exalted place in the world of comedy. And because Daddy Rich was so excessively deceptive, it juxtaposes perfectly with the real Pryor, whose greatest attribute was his in-your-face honesty.
“Car Wash” was a minor comedic classic. Released in 1976, it features a predominantly African-American ensemble cast in the episodic tale of a bunch of people whose lives interconnect at one Los Angeles car wash. It includes some of the finest talent working at the time, including George Carlin, Bill Duke, Ivan Dixon, Franklyn Ajaye and the Pointer Sisters, who accompany Daddy Rich on his visit.
Fit for a throne
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“Car Wash” and the Daddy Rich role did not represent quintessential Pryor. If he had expressed himself without restriction, it would have gotten the picture an “X” rating at the time because of racy language. It also probably would have been even funnier than it was.
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That was not the first time Pryor played the role of king. He would do it daily, especially throughout the ‘70s when his comedic gifts were raging at their peak. He was the black Lenny Bruce, although without the long and tedious digressions into his legal problems. Pryor would go after whatever social taboos existed regarding sex, race and drugs, and do so with enthusiasm and without trepidation. He was a brave funnyman, because he would tread on any forbidden ground for a laugh, often straddling the thin line between tragedy and comedy.
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