"It probably isn't possible for a single movie to reverse all social progress made since the civil-rights era, but “Norbit,” the latest broadside from Eddie Murphy, does its best to turn back the clock” – Scott Tobias, The A.V. Club
Many believe that “Norbit” single-handedly derailed Eddie Murphy’s “Dreamgirls” Oscar run. In 2007, Murphy was the clear front-runner for “Dreamgirls” — until, weeks before the ceremony, audiences were confronted with the sight of him in a fat suit, hot-pink bikini, and playing Rasputia.
The film was destroyed by critics, earned multiple razzie nominations, and the timing couldn’t have been worse. Murphy lost the Oscar to Alan Arkin for “Little Miss Sunshine,” and a narrative took hold that “Norbit”was to blame.
However, Murphy still stands by “Norbit.” In a recent chat with Complex, the comedian didn’t just defend it; he openly professed his love for it.
I love Norbit. When it came out, it got all these Razzie nominations — Worst Actor of the Decade, Worst Actor, Worst Actress. I was like, come on, it ain’t that bad!
Murphy co-wrote “Norbit” with his late brother Charlie, and there are some defenders of it put there, but not many. One of them is The New Yorker’s Richard Brody, who has called the film a “masterwork” and included Murphy’s work on his curated list of top acting performances of the 21st century.
When pressed on his personal “Mount Rushmore” of films, Murphy admitted it would be easier to list his worst. He only got as far as naming “The Adventures of Pluto Nash” (2002) and “Holy Man” (1998) before looping back to explain why “Norbit” doesn’t belong in that category.
In “Norbit,” which, I’ll admit, has some disposable funny moments—Murphy plays three lead roles: the shy title character; Rasputia, the monstrously grotesque woman he marries; and Mr. Wong, the owner of the Chinese restaurant-slash-orphanage where he was raised, a role for which Murphy donned “yellow face.”
Watching “Norbit” nearly 20 years after its release much feel genuinely shocking. Given today’s heightened sensitivity, it’s hard to imagine a film like this getting made today. Its unapologetic embrace of outrageousness is a reminder of a very different era in comedy.