Watch Harlem Nights For Free

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Harlem Nights is an ostentatious late-eighties crime comedy written and directed by the affable Eddie Murphy during the apex of his career. The film details the rags-to-riches rise of a crime boss named Sugar Ray (Pryor) and his high swinging Harlem jazz club during the 1920's and 30's. Branding himself as a bit of a bon vivant, Ray willingly embraces illegal hooch, prostitution and gambling. To help him, he takes the young Quick (Murphy), a street tough-turned second-in-command, under his wing. Unfortunately years of easy success brings un-welcomed competition from New York mafia head Bugsy Calhoune (Lerner) and envious scorn from corrupt cops and the white establishment at- large.The plot then hinges on what the denizens of Harlem's bootlegger class will ultimately do to save face. Ray, a fair-minded and uncommonly cautious miscreant wants to gather his chips and skip town while Quick is itching for a fight. Much of the film's moral messaging is dropped in the fast-paced conversations between Ray and Quick - Ray of course being the voice of reason. "What are they gonna put on your tombstone? 'Here lies a man, 27 years old. He died, but he ain't no punk.' Hey man, that's bulls**t." Ray's words tower over the movie like a totem.The mood of Harlem Nights veers wildly from low-brow comedy to a fiery mobster film, even within the same scene. All the while, Eddie Murphy's motor-mouth delivery, Richard Pryor's innocuous bumbling and the gruff inclusion of Red Foxx, keeps the seams of this film from popping open with reckless abandon. It's an uneasy mix. One which nearly breaks its ability to transport in tone-deaf scenes that include Arsenio Hall as a bereaved hood and Della Reese as Sugar Ray's resident madam. It's easy to see why Harlem Nights was initially panned given three generations of comedic giants are on screen yet none go for the big titters.Yet what Harlem Nights accomplishes goes beyond a cursory look at the film's rocky production history (rumor is Pryor and Murphy did not get along). With this film comes a time capsule - a lovingly developed recreation of the Harlem Renaissance as told by those who have a stake in seeing that period on the big screen. Being enveloped by Harlem Nights means visiting the busy epicenter of a foreign country that no longer exists. It's overwhelming, jarring and even a little scary but you can't deny its vibrancy.Thus the language may be a little blue, but it does come with unfettered urgency. The humor may be too broad and mean but it dozily leans on some incredibly lush world-building. There are no big comedic payoffs in the traditional sense, but there is a heart to this picture that channels the oral-history, stubborn divergence and tumult of the Harlem Renaissance. Surely we can give a film a second chance based on that alone, cant we?

Eddie Murphy has a enormous talent that has been shown in big blockbuster comedies like Trading Places, 48 HRS., and Beverly Hills Cop. Those three movies jump-started his career in the movie business. Whether playing a streetwise hustler or a wise-cracking convict, Murphy does the job well. But, in 1989, Murphy wrote and directed a movie called Harlem Nights. My only question is since when did Eddie Murphy choose to direct? Well, to start off, let me explained to you what Harlem Nights is all about. The movie takes place in the 1930's in Harlem, where Murphy plays a nightclub owner and his guardian, played by Richard Pryor, who also owned the nightclub as well, deals with some gangsters that we've seen hundreds of times in period pictures. It's no wonder why great period movies that involved gangsters in the story are true to its own right. Harlem Nights doesn't match any great period picture that I've seen. One thing I will say is that Eddie Murphy, who is responsible for this movie, can't direct. Here is a actor, who is talented and has a very good sense of humor. But, why did he pick this project? Obviously enough, he didn't really care about directing this movie. All he wanted to know is where is the next party going to be. Another reason why Harlem Nights is not a good movie is the characters don't talk in 1930's language. Instead, they drop 4-letter words and 12-letter words and act very cruel to women. Even racism is even brought up in this movie. I think you can say that Harlem Nights put Eddie Murphy into a slump after his other film, The Golden Child, which I found interesting and fun, and that slump only lasted 7 years. After 7 years, he starred in The Nutty Professor, which got him out of his slump. Harlem Nights is probably one of the worst movies of 1989. It's unbearable and not funny. And one other thing, Richard Pryor is in the wrong movie. Redd Foxx also shouldn't be in this movie either. He and Pryor shouldn't even been in this mess. ★ 1 star.

There has never been a film have so many African American classic comedians, actors and celebrities in one film. I really respect and appreciate Eddie Murphy doing this film. It is really good to see so many of these actors looking so good (Robin Harris, Richard Pryor, Redd Fox, etc.). A lot of them or no longer with us. I loved the fact that he put Roberto Duran in for a brief cameo. I loved what Arsenio Hall did as well. It was good to see blacks in a film figuring out how to get their piece of the pie in an already corrupt environment. It was double bad for blacks in that time period. Nice to see that their was a group like this that managed to live well and do their own thing. I hadn't seen anything like it until I saw this film. I feel like there were definitely stories coming out of Hollywood that avoided these kinds of topics.

After about nearly 25 years of mostly hearing negative comments about this movie, I finally watched Harlem Nights on Netflix Streaming. My verdict: I thought it was funny enough even with all the killings, bombings, and other things considered too ugly for a comedy. Executive producer, director, writer, and star Eddie Murphy has made a pretty good period piece taking place in '30s Harlem and assembled what must have been a dream cast for him starting with his idol Richard Pryor, and then adding other legends like Redd Foxx and Della Reese. Together they run Club Sugar Ray with Pryor playing that club's owner, Murphy as adopted son Quick, Foxx as nearly blind Bennie Wilson, and Reese as madam Vera. Their enemies are such white figures like officer Phil Cantone (Danny Aiello) and gangster Bugsy Calhoune (Michael Lerner). In addition to them, other supporting players include Belinda Tolbert-best known as Jenny Willis Jefferson on "The Jeffersons"-as Sugar Ray's mistress Annie, Stan Shaw-like me, a Chicago native-as boxer Jack Jenkins (who has an amusing stutter), Jasmine Guy-who was playing Whitley Gilbert on "A Different World" at the time-as creole lady Dominque La Rue (whose character is from the state I now live in-Louisiana), Vic Polizos as Richie Vento, Lela Rochon-years before appearing in the blockbuster Waiting to Exhale-as Sunshine, Thomas Mikal Ford as Tommy Smalls, and Arsenio Hall as his brother though he's credited as Crying Man (and he's quite hilarious doing so!). Like I said, I thought the lines were funny enough and the profanities weren't as frequent as I thought but since I'm so used to these performers using them, I really didn't feel offended by them. So on that note, Harlem Nights gets a recommendation from me. P.S. Aiello's son Rick-who I found out also appeared with his father in Do the Right Thing as one of New York's finest-plays someone credited as only Man # 1 here. And how awesome to hear many Duke Ellington songs including the credit-ending "Drop Me Off in Harlem" with New Orleans' own Louis Armstrong.