The role Eddie Murphy grew to despise: “I hate it”
Before he became beloved by children all over the world for movies like The Nutty Professor, Dr Dolittle, and Shrek, Eddie Murphy was far from a family-friendly jokester.
In fact, Murphy’s transformation from a profane, controversial comedian who did and said exactly what he wanted to a smiley box office titan with no edge is one of Hollywood’s most surprising journeys. When Murphy broke through as a stand-up act and star of the sketch comedy powerhouse Saturday Night Live in the early 1980s, his material was exciting, shocking, and full of ‘This guy doesn’t give a fuck’ energy. Many of his jokes about race, the gay community, women, and sex would make people’s heads spin today, and even at the time, a huge swathe of them were considered wildly offensive.
It obviously gave Murphy a hard-on, pushing others’ psychological buttons and seeing how far he could take things before someone actually called out his proclivity for creating big fucking shitstorms. This is why he became so goddamn popular, because he would say what others wouldn’t and get away with it thanks to his undeniable stage presence and that mega-watt grin. It was no surprise, therefore, that almost as soon as Murphy’s star began to rise, Hollywood came calling. Amazingly, the first two films he made were 48 Hrs and Trading Places, both of which were enormous hits that perfectly displayed the sheer charisma and star power that was so effortless for him.
In truth, being a movie star was always Murphy’s goal, and when he made it to Hollywood, the reality was even better than he could have imagined. “When I go to the movies and see myself on the screen, that’s the ultimate,” he gushed to Rolling Stone in 1984. “The first time I saw 48 Hrs, I left the theatre like a dope addict.” He had snuck into a sneak preview screening, and when the audience clapped effusively at the mere presence of his name on-screen, he “started freaking.” With that trademark grin, he noted, “I was on cloud nine for two weeks.”
Unfortunately for Murphy, though, he was still one of SNL’s primary draws at the same time as his movie career was taking off. When he made Beverly Hills Cop in ‘84, legitimately the biggest hit of the year, it became obvious that he was outgrowing his spot as one of the cast members on that NBC institution. However, he was convinced by producer Dick Ebersol to stick around for one final season against his better judgment, with Ebersol employing a bit of emotional blackmail to ensure Murphy’s participation.
“Dick came in with one of these, ‘I know you’ve got a career, but I’ve got other people up here who won’t have a career if you leave the show,’” Murphy claimed. “‘I’m not talking about me — people like secretaries and stuff will be out of a job.’” Obviously, this wasn’t the most solid foundation for Murphy’s last season, and before long, he was simply counting the days until it was over.
Sadly, the show that first made Murphy a star had become an albatross around his neck, and he confessed, “I can’t wait to leave. I don’t like the show. I don’t think the show is funny. I hate it.” This kind of brutal truth-telling would be rare in an interview these days, but Murphy was nothing if not honest (mixed with a healthy dose of ultra-confidence and a shitload of narcissism). However, he also admitted that, while he didn’t exactly tank his final year on SNL, he also didn’t give 100% like he would have before Tinseltown whisked him away to superstardom.
“I haven’t written very much this season, and I think it shows,” Murphy said. “I don’t think I’m funny. Do you know why? Because I approached the show this season like, ‘Look, I got ten fucking shows. I’m doing them and getting the fuck outta here. I hate this fucking place.’” To his horror, he soon realised that his colleagues recognised he wasn’t giving his all, and a funny feeling settled in the pit of his stomach: guilt. This is why, with uncharacteristic humility, he admitted, “I apologise for doing it.”
