Several years after his last disappointing dramatic turn, iconic comedian/actor Eddie Murphy returns as a sage cook and counselor in the unsatisfying and sentimental story, Mr. Church.
Since Spike Lee coined the term, “magical negro,” in 2001, there have been a plethora of stories that have hit the big screen about heroic Black characters that sacrifice themselves, providing wisdom to make their White film counterpart feel better about themselves while learning very important moral lessons in the process. Often the Black character ignores their own dire circumstances to ensure that they use their “special insight” for the betterment of those they assist.
Murphy’s Mr. Church fits squarely into this narrative. His character shows up unannounced one morning to prepare a scrumptious breakfast that is a welcome relief to single mother Marie (Natascha McElhone) but immediately puts him at odds with her overly-suspicious daughter Charlotte (Britt Robertson). It seems that Church’s former employer made a deal with him to cook and care for his former mistress, who is suffering from a life-threatening disease and only has six months to live. Church agrees to look after her in exchange for a life of comfortable security.
While Charlotte tries to throw shade at this smooth Mr. Belvedere-ish cook and household companion, the delicious dishes he prepares daily, as well as his assortment of books, slowly win her over. Despite his daily duties, there is still an air of mystery to Charlotte about Church, who gives his all to them during the day and disappears without a trace every evening with no mention of his whereabouts.
Church is literally a jack-of-all-trades who always has a kind word of encouragement (for the most part) and can often be found dispensing valuable pearls of wisdom to both mother and child. Unfortunately, the film is about him but we don’t really get inside his head to understand what he truly feels about the situation or the people that he so ably serves – which is the film’s greatest flaw.
Based on the life of screenwriter Susan McMartin and directed by Bruce Beresford (Driving Miss Daisy), this film feels in many ways like an updated version of his Oscar-nominated story. Murphy, whose Oscar-nominated turn in Dreamgirls remains his signature performance, gives a solid and thoughtful performance that hits all the right notes. His years as a dynamic creative funnyman have given him a wonderful sense of timing which he uses to settle into each scene instead of dominating the proceedings.
Unfortunately, despite Murphy’s comeback performance, McMartin’s script lets him down and diminishes him to simply one who helps Charlotte figure out her life with little attention given to this magnificent man who sacrificed a huge chunk of his life, toiling in anonymity with so many hidden, unfulfilled gifts.
It is a welcome relief to see Murphy return to a film that is not an unmitigated disaster as so many of his recent films. After generating over seven billion with an assortment of films over his storied career, it is fitting that Murphy has reinvented himself as a credible dramatic actor. His only problem was his choice of a story that, figuratively, has him still in the front seat driving a car that is not his. That’s a shame and a waste, we would have loved to see HIS story!!!
Grade: C+