The “Ghostbusters” star on filming John Landis’ 1983 status-swap comedy, working with Eddie Murphy, and how he looks back at that blackface scene today.
on a $15 million budget) that Murphy became one of the highest paid movie stars of the decade. Meanwhile, it paved the way for Curtis to break free of hersuccess just a year later.
At the helm of it all was Landis, who became one of the most dominant comedy directors of the decade. Aykroyd pins the movie’s success squarely on Landis’ vision, and having worked with the director just three years prior on“We were under the hand of a great director, so that always helps,” he reasons. “We also had the total backing of the studio, 100 percent, right up to its release. They were behind us all the way. I basically just did what [Landis] told me to.
Then there’s the casual racism and homophobia—a troubling hallmark of the time during which it was made. And while it’s amplified for comedic effect at the expense of the very characters using it, it still makes for uncomfortable viewing. For instance, the heavyas comeuppance for Paul Gleason’s villainous Clarence is disturbing, but perhaps farcical enough to be played off as a gag.
“Well, I was in blackface in that film and I probably couldn’t get away with it now,” Akyroyd admits now, reflecting on the scene where hecharacter, complete with dreadlocks and a Caribbean accent. “Eddie and I were improvising there. Eddie is a Black man and his entourage were all Black people, and I don’t think they batted an eye. There was no objection then; nobody said anything. It was just a good comic beat that was truthful to the story.
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