“You mean I’m not white? This is a scandal!”

Justin’s rating: I guess it matters if you watch this with subtitles on?

Justin’s review: Richard Pryor and Gene Wilder are one of those comedic duos that nobody seems to talk about any more, despite starring in four films together — and Wilder being in the Pyror-written Blazing Saddles. And nowhere was their chemistry utilized to greater extent than 1989’s See No Evil, Hear No Evil.

I mean, we can get this out of the way up front: This is a rude, crude comedy that would in no way be made today unless the filmmakers had a fetish for being tarred and feathered. Who would wade into the pool of turning disabilities into jokes today? But that’s what I love about the ’80s — it wasn’t flinching at such ideas. Maybe they weren’t always prudent, but there was a fearlessness to comedies that resulted in actual comedy.

And besides, it’s all in the approach. If it’s laughing at blind people and deaf people, then it’s just a mean, spiteful movie. But if it’s following two people with disabilities who are pretty funny, then we get to cheer them along even as we chortle. Yes, I said “chortle.”

Wally (Pryor) is a totally blind guy who gambles compulsively and feels the need to pass for a fully sighted person. Dave (Wilder) is a pretty deaf dude who’s talented at reading lips. Dave ends up hiring Wally to be a salesperson for his newspaper stand, and one bar fight later, they’re the best of friends.

As we learn, both of the men are pretty prideful about their affliction and not completely comfortable with who they are. However, this budding bromance is exactly what they need to grow a little — and their respective functioning abilities help each other navigate life a bit better.

This connection comes at a most fortuitous — or unfortunate — time, as a man is murdered right in front of Dave’s stand. Wally hears the shot, Dave sees the woman’s legs, but they can’t be credible witnesses for the cops. The bad guys try to silence these would-be witnesses, the cops try to find and arrest the duo, and Wally and Dave sow chaos throughout New York City for the better part of two hours.

Wilder and Pryror have a genuine chemistry that makes most — not all, but most — scenes a joy to watch as they ping-pong off each other. When they’re not dancing verbally, they’re devolving into slapstick. And you know that sooner or later, the blind guy’s going to be driving in a most unsafe manner.

The real downside is that See No Evil, Hear No Evil does the same thing that way, way too many ’80s buddy films did, which is to cram in some lame crime plot to propel things along. Can I say that none of these plots were interesting, nor were any of the attached action sequences?

This is definitely a strange movie that’s all over the place and sporting a pretty hard R for language. I don’t think it was possible for these two to be in the same room and not immediately get an R-rating due to their mouths.

If you like unabashed silliness and madcap scenarios, See No Evil, Hear No Evil could hit the spot for you, you sicko. This really is a “your mileage may vary” situation based on how much you like these actors, groove with this wackadoodle premise, and appreciate absurdity.

Intermission!

• It’s silly, but when I see that old school Tri-Star logo, I feel such a rush of nostalgic anticipation of the movie to come
• “Who are you fighting this time?”
• “A lot of adjustments need to be made! Does dad know?”
• Haha the blind literally leading the blind
• A blind guy playing darts in the bar isn’t a good idea
• “When’s the last time you were laid?” “Too sad, next subject.”
• “Fuzzy wuzzy was a woman?”
• Kevin Spacey with the most skeevy mustache ever
• The police photographer is hilarious
• “Why would she say ship, ship, ship, that’s ridiculous.”
• And entire protest going through the station to free Iran (how’s that going?)
• “I don’t know what you’re looking for, but it’s a little to the right.”
• “Don’t watch me, look at the road!” “If it makes you feel better.”
• “We’re in a warehouse and you just hit a COW.”
• This movie has the worst rear projection for the driving scene
• “I think we’re floating toward New Jersey.”