By: debbie lynn elias
Jamal Walker, direct from Florence and Normandie in the heart of South Central Los Angeles, works as a maintenance man at Medieval World, a tired and run-down theme park that has remained in business for 27 years due solely to the efforts of its dedicated owner. Worried more about his appearance than work and not having any aspirations in life, other than to find a scam and make a quick buck, Jamal only looks for the easy way out. When faced with stiff competition from the new grand and glorious Castle World, rather than work hard and improve Medieval World’s grubby and grungy appearance and give the new guys a run for their money, Jamal’s solution to the problem is a recommendation to the boss to sell and retire to Florida. In the meantime, Jamal can jump ship early and get first in line for new employment with Castle World. Due to his lack of vision and work ethic, Jamal is condemned to cleaning the moat where he, of course, sees a gold medallion in the muck and mire which he believes will be worth a fortune. While reaching for his riches, Jamal falls into the moat and through some strange course of events and the time continuum itself, emerges in the year of our Lord 1328 in merry olde England.
Similar in premise to Mark Twain’s “A Connecticut Yankee in King Arthur’s Court” which has been translated to the screen with versions ranging from Bing Crosby to Whoopi Goldberg, “Black Knight” goes for every laugh possible – – and succeeds. On his initial arrival to England, he meets Sir Knolte, a shining example of homelessness and street living at its finest. Filthy, dirty, unshaven, reeking of alcohol and having exceedingly bad breath (good thing Jamal travels nowhere without breath freshener), Knolte nevertheless is hospitable and polite, offering Jamal shelter in his lean-to and food from his fire pit. Believing Knolte to be an alcoholic street person on the other side of the freeway, Jamal’s recommendation, however, is to join AA, get some food stamps and go to a shelter. In actuality, Knolte is a former knight to the Queen, who has been deposed by the tyrannical reigning King Leo.
Wandering into a village and eventually into the castle, it takes awhile for Jamal to grasp that he’s not actually visiting the competition at Castle World. Advising the castle guards that he is from Florence and Normandie, they take it to mean he is a Moor and emissary to the Duke of Normandy, come to advise of the imminent wedding of King Leo’s daughter to the Duke. Treated like the royalty he has always believed himself to be, Jamal is feted with wine, women and song – and of course, earns the right to a key to the men’s room – a hole that’s covered with . . . (you guessed it!) At a party given in his honor, with his “true” identity about to be discovered, quick thinking, street smart Jamal gets things going (and saves his butt) with a rousing singing and dancing number set to Sly & The Family Stone’s “Dance to the Music” with choreography by non other than Paula Abdul.
Realizing that Leo is not a very kind king and learning of a rebellion to overthrow him and return the Queen to her throne, Leo wants nothing more than to return to the 21st Century. Unfortunately, along the way, he discovers that he does have a conscience and joins forces with the rebellion. Using his 21st knowledge and skills (football, street fighting, cleanliness, hygiene, table manners, the benefit of good footwear), Jamal is a mentor to the rag tag rebels, inspiring them to greatness with the now infamous Rodney King “Can’t we all just get along” speech.
Combining the talents of writers Darryl Quarles, Peter Gaulke and Gerry Swallow, we have a character who grows and changes for the better without underestimating the audience’s intelligence. Director Gil Junger keeps the pace fast, but harkening back to his bast television background, gives you the opportunity get the laugh and keep the laugh going before cutting away to another scene. Veteran set decorator Peg Cummings does a magnificent job of recreating the medieval period. Vincent Regan as Percival, the king’s chief of security, is deliciously wicked as he attempts to undermine Jamal’s popularity at every turn and Tom Wilkinson gives an understated, yet forceful and effective performance as Knolte.
Not being a Martin Lawrence fan, I must confess that “Black Knight” had me rolling in the aisles. Lawrence went for the comic jugular and succeeded every time. Using the “fish out of water” approach to being a strange man in a strange time, Lawrence’s seemingly effortless timing and physical reactions as Jamal, not to mention vocal inflections, are impeccable, and help him create not only a laughable, but extremely lovable and endearing character. Long live the boy from the ‘hood who turned into Robin Hood!
