Prince Akeem (Eddie Murphy) is a prince who does not want to marry a woman he has never met. He wants to meet a woman himself. So he leaves his home country of Zamunda and travels to Queens, New York, to find his true love. That is the premise of “Coming to America,” a comedy from 1988 that mixes satire, romance, and spectacle into a package meant to be enjoyed more than thought about. The movie runs 103 minutes, and it moves fast enough that the jokes rarely have time to breathe.
Trailer, via Paramount Movies.
Prince Akeem’s Big Plan
Murphy plays Akeem as a man of great fortune and little common sense. He speaks in a formal, old-fashioned manner that makes him seem out of touch with everyday life. His father, King Jaffe-Djarhejee (James Earl Jones), has arranged a marriage for him to a woman named Princess Selana (Shari Headley), but Akeem has other plans. He wants to fall in love on his own terms.
The setup is simple. Akeem comes to America to find his true love. Along the way, he meets Lisa McDreamy (Arsenio Hall), a local woman who works at a fast-food restaurant. She does not believe Akeem is a prince at first, and she treats him with suspicion. This is where the film spends most of its running time, following the two of them as they get to know each other.
The chemistry between Murphy and Hall is the engine of the film. Their scenes together crackle with energy, and their arguments are often the best jokes in the movie. Hall plays Lisa as blunt and practical, while Murphy plays Akeem as charming and oblivious. The contrast works well, and the scenes where they fight over misunderstandings land with real force.
Zamunda and the Satire
“Coming to America” also spends time showing Zamunda, the fictional African nation where Akeem is prince. The film paints Zamunda as a wealthy, technologically advanced country, far removed from the poverty and hardship that define most of Africa in American media of the time. This is meant to be a satire of Western attitudes toward Africa, but it plays more like a fantasy than a pointed commentary.
The satire is thin, and it relies heavily on visual gags rather than dialogue. There are scenes where Akeem is shown being treated like royalty back home, and the contrast with his treatment in America is supposed to be funny. It works sometimes, but it feels more like filler than like a serious statement.
The film’s politics are dated, and it is worth noting that the satire is aimed at the audience’s expectations rather than at any particular group. It is a broad, easy joke rather than a sharp one, and it is not the reason anyone watches the movie.
The Running Gag Machine
“Coming to America” is a comedy built on repetition. Jokes are set up early and then repeated throughout the runtime, sometimes several times. This can work in a movie’s favor, building momentum, but here it just pads the runtime with material that could have been trimmed.
The most famous example is the recurring bit involving a character played by John Candy. He is a bodyguard for Akeem, and his presence is used for comic relief through physical comedy and absurd situations. These moments are funny in the moment, but they add up to a running gag that feels worn out by the film’s end.
There is also a sequence involving a musical number that is meant to be a highlight, but it feels out of place in a movie that otherwise sticks to a straightforward plot. The song is performed by Murphy and Hall, and it is meant to bring the story to a close, but it feels tacked on rather than earned.
The Final Stretch
The film builds toward a conclusion that brings Akeem back to Zamunda to face his father. King Jaffe-Djarhejee has arranged the marriage to Princess Selana, and Akeem must decide whether to honor his duty or follow his heart. The climax involves a confrontation between Akeem and his father, with Lisa McDreamy waiting in the wings.
This is where the film’s central conflict is resolved, and it is handled with a degree of sincerity that grounds the comedy in something more meaningful. The resolution is predictable, but it is handled with care, and it gives the film a satisfying ending.
| Element | Strength | Weakness |
|---|---|---|
| Eddie Murphy’s performance | Charisma, energy, chemistry with Arsenio Hall | One-dimensional, playing the same character throughout |
| Arsenio Hall’s performance | Blunt, practical, grounded | Underwritten compared to Murphy |
| Satire of Zamunda | Ambitious idea | Thin execution, dated humor |
| Repeated jokes | Build momentum | Feel padded and repetitive |
What Works and What Doesn’t
The film’s strengths are its performances and its chemistry. Murphy and Hall are both excellent, and their scenes together are the best reason to watch. The satire, meanwhile, is a missed opportunity. The film could have said something sharper about Western views of Africa, but it settles for easy laughs instead.
The film is also uneven in tone. Some scenes are genuinely funny, while others feel like filler. The musical number stands out as a moment that does not quite fit the rest of the film.
“Coming to America” is a film that is better remembered for its premise than for its actual content. It is a pleasant, occasionally funny movie that never reaches the heights of greatness. It is a solid, enjoyable watch, but it is not a classic.
The film’s score sits at 6.9 out of 10.
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