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Recently i bought a DVD-recorder. As a stunt the shop sold it at a special price, together with a selection of Movies on DVD. One of these DVD's is "Stir Crazy". I watched the film again, this time together with my 13-years old son and a friend of his. The boys were rolling on the floor with laughter, so one can definitely say that this is a timeless comedy, that never ages. The film always leaves me with a good feeling and i have seen that it still works, even with kids these days. The acting is superb, the dialog continually funny, the prison setting convincing and an extra credit should go out to Jobeth Williams' small but heat-warming part. Guaranteed to bring a little sunshine to a rainy day.

Stir Crazy is directed by Sidney Poitier and written by Bruce Jay Friedman. It stars Gene Wilder, Richard Pryor, Miguel Angel Suarez, Georg Stanford Brown, JoBeth Williams and Erland Van Lidth. Plot has Pryor and Wilder as two care free New York buddies who after getting fired from their jobs decide to make their way to Hollywood in search of better fortunes. However, after taking up a gig as promotional woodpeckers for a bank's advertisement drive, they find themselves framed for robbing the bank and sentenced to 125 years each in prison…..

The second pairing of Wilder and Pryor proves to be the best of their output on film. With their chemistry skin tight, film is full of laughs until a big slow down for the last third when the inevitable attempt at a prison break out occurs. Poitier's direction isn't up to anything other than correctly letting his two lead stars strut their stuff. But along with writer Friedman, he has to be accountable for letting the comedy dry up as the film chooses tension over humour which undoubtedly doesn't sit at all right. Still, the first hour is a joy ride, particularly once the guys land in prison, here the comedy reaches its peak and the contrast of the two characters played by Wilder and Pryor really mines the set-up for all is worth. Wilder is oblivious to the hazards of prison life, Pryor is street savvy and fully aware of the perils around every brick walled corner.

Naturally there's a hope on the horizon, which here comes in the form of Rodeo skills, this too brings the laughs, as does the number of prison characters that join in the plot. Notably Van Lidth's monstrous, and monstrously funny, Grossberger. Yes it's a roll call of prison stereotypes, from the top where the morally dubious Warden (Barry Corbin) sits, down to the cons where gays, bullies and gate happy loonies reside. With that, some of it now seems twee and badly out of date. So much so it's a film that is unlikely to garner a new and appreciative audience. However, those who were enamoured and found themselves laughing heartily with it back in the early 80s, should find that like myself, it holds up real well. Kind of like an old friend you call on when you need a pick me up. Hardly a superior comedy classic, then, but a film that rewards its fans on each subsequent revisit. 7/10

Gene Wilder and Richard Pryor were a great comedy duo. Not all their few collaborations were great, but 'Silver Streak' and 'Stir Crazy' very much were very good, particularly the former. One thing that 'Stir Crazy' improves on than 'Silver Streak' is that Wilder and Pryor get equal screen time and work stronger as a double act.

'Stir Crazy's' second half isn't as good as the first half, a case of the first half being great but the second half having moments but not living up to the promise seen before. The elaborate escape scene stands out well, but generally the second half does suffer from a lack of laughs, which the first half had aplenty, the momentum isn't as snappy and the more serious tone jars a little.

That's pretty much it for the flaws though. 'Stir Crazy' is one of their more visually beautiful films, the setting is great and like a character of its own and there is some truly beautiful and clever photography at the start and in the first half.

Much of the script is hilarious and clever, and avoids being noisy or immature. Pryor's chicken scene is unforgettable, and there is some clever lampooning of prison clichés. The story is slightly contrived at times in the second half but very rarely gets tedious. Sidney Poitier is a surprising choice for director but does a very capable job.

Wilder is both funny and endearing and avoids mugging too much or clowning around. Pryor with more screen time than 'Silver Streak' equal to that of Wilder, works incredibly well with Wilder and while he is the less understated of the two he's not abrasive or annoying.

Overall, uneven but very enjoyable. 8/10 Bethany Cox

Gene Wilder and Richard Pryor was a good comedy team of the 1970s, making several hit movies together, this being one of the more memorable. Viewing this movie recently after a 25-year absence, it was a shock to me to hear the language. I had remembered this strictly as a light-hearted comedy but I can see why it's rated "R." That is solely for the language, especially by Pryor, but he was known for his profane humor.

If you can put up with that, the film is downright funny, even today. I found myself laughing out loud at a few scenes, all of which I remembered vividly from several viewings in the '70s. They are still just as funny.

Who could forget that mammoth criminal with the long, long name - Erland van Lidth de Jeude? He was the guy that scared the hell out of everyone, just by his physical presence. In real life, that man was the opposite of his projected image on screen. He was a graduate of MIT, an accomplished opera singer, an Olympic wrestler, devoted husband and father, writer, etc. The poor man died at the age of 34.

It also was interesting to see such a young looking Craig T Nelson and JoBeth Williams.

This might have been the best of the Wilder-Pryor films. I was shocked to see that Sidney Poitier directed this movie. I didn't know that until seconds ago when I looked at this IMDb title page.

Skip Donahue (Gene Wilder) and Harry Monroe (Richard Pryor) are best friends living in New York City. Donahue is an amateur playwright, working a day job in department store security. Monroe is working as a catering assistant. When Donahue is canned for harassing a starlet and Monroe is fired because his marijuana ends up in the food at a society dinner on the same day, Donahue takes it as the perfect opportunity to finally leave the cold, unfriendly metropolis and head out West. Unfortunately, neither is very well adapted to life outside of New York, and they end up framed for a crime.

I hadn't seen Stir Crazy since at least the early 1980s. Recently I had a chance to rewatch Gene Wilder's The Adventure of Sherlock Holmes' Smarter Brother (1975), which I hadn't seen since the 1970s, and I was a bit disappointed. So I was nervous that Stir Crazy might also be a let down this far removed in time. That couldn't have been more wrong. I may have even thought it was funnier and more exciting this time around than when I first watched the film as a teen.

I had forgotten that Stir Crazy isn't just a comedy. It's also fairly suspenseful and surprisingly serious at times in the last act. Director Sidney Poitier makes a smooth transition through many genres--buddy film, road movie, fish out of water story and prison film, aided of course by Wilder and Pryor. While both actors have had plenty of performances just as good as Stir Crazy, neither have had any that were better.

In a way, this is really more Wilder's film than Pryor's. That's no slight on Pryor; Wilder just ends up getting more screen time. He presents a hilariously bizarre, complex character who is full of contradictions--kind of a channeling of a less loquacious Woody Allen through a more down to earth version of his Willy Wonka (Willy Wonka & The Chocolate Factory, 1971). Wilder's Skip Donahue has an air of Mister Rogers-styled good-natured innocence, with the same kind of odd and maybe creepy homoerotic overtones, but he'll also turn on a dime into a neurotic, screaming loon. As I said, it's all very complex, but extremely funny and enjoyable to watch.

Pryor's Harry Monroe is more of a streetwise perpetual victim who doesn't adjust to the social world of the criminal justice system as well as Donahue does. He has a much more typical reaction, with no misconceptions about their dire circumstances.

The crux of the humor in the first section of the film is the naivety of Donahue's "grass is always greener on the other side" conception of the Western U.S. compared to New York City. Of course, things turn out to be not quite so simple, but it's funny and charming that Poitier and writer Bruce Jay Friedman have Donahue never quite wake up from his naïve misconception. It also turns out to have much more weight than just a comic device: Donahue survives in prison as well as he does, and it brings about the profound changes of character--Donahue becomes much more authentic, realizes his potential, gains material for his art and even gets the girl--because of his continued misprision (in the Bloom sense) about life outside of New York City, and in the end, it enables a "return to the market", as they say in Zen Buddhism.

Watching Stir Crazy at this later point in time, some of the humor might seem a bit clichéd to younger viewers. It's important to remember that this is where a lot of those "clichés" came from. In 1980, everyone was mimicking scenes from this film (such "We bad . . .") and repeating dialogue and jokes. Some of the filmic (and by extension general cultural) folklore or urban legends about prisons contained in Stir Crazy had made appearances in films prior to this one, but not in the particular irreverent way that they're satirized here.

This is an important film in the careers of a few of the greatest actors and comedians (Wilder, Pryor and Poitier), with an important place in the history of Hollywood comedy. The fact that it's also suspenseful and has philosophical things to say about human nature is a bonus that makes this a film you shouldn't miss.