Jo Jo Dancer, Your Life Is Calling (1986)

R | 99 mins | Biography | 2 May 1986

Director:

Richard Pryor

Producer:

Richard Pryor

Cinematographer:

John Alonzo

Editor:

Donn Cambern

Production Designer:

John De Cuir

Production Company:

Columbia Pictures
Full page view
HISTORY

According to production notes in AMPAS library files, actor-writer-director Richard Pryor claimed that although the main character’s experiences were similar to his own, the story was not autobiographical. Characters were said to be composites of many people, representing many feelings. Although several contemporary sources stated that Jo Jo Dancer, Your Life Is Calling marked Pryor's directorial debut, Pryor had previously directed his own concert film, Richard Pryor...Here and Now (1983, see entry).
       A 12 Feb 1985 HR article and 29 Mar 1985 DV production chart announced that principal photography began 11 Feb 1985 in Los Angeles, CA. The shoot was scheduled to last seven-to-eight weeks. A 27 Apr 1986 LAT article reported that the film’s budget was $20 million. According to a 5 May 1985 LAT brief, and a 14 Jun 1985 Back Stage article, the production moved to Peoria, IL, Richard Pryor’s hometown, the week of 4 May 1985, for an additional 10-day shoot. On 31 May 1985, a DV news item reported that principal photography had concluded.
       The 27 Apr 1986 LAT stated that when Pryor experienced challenges editing the film, he called upon old friend and former Universal Pictures president of production, Thom Mount, for help.
       An item in the 23 Oct 1985 Var stated that Columbia Pictures chief executive officer and chairman Guy McElwaine pulled the film from its scheduled 13 Dec 1985 release, and rescheduled it to open in the spring of 1986. McElwaine explained that Pryor needed more time for special effects and editing, and to procure music spanning three different ...

More Less

According to production notes in AMPAS library files, actor-writer-director Richard Pryor claimed that although the main character’s experiences were similar to his own, the story was not autobiographical. Characters were said to be composites of many people, representing many feelings. Although several contemporary sources stated that Jo Jo Dancer, Your Life Is Calling marked Pryor's directorial debut, Pryor had previously directed his own concert film, Richard Pryor...Here and Now (1983, see entry).
       A 12 Feb 1985 HR article and 29 Mar 1985 DV production chart announced that principal photography began 11 Feb 1985 in Los Angeles, CA. The shoot was scheduled to last seven-to-eight weeks. A 27 Apr 1986 LAT article reported that the film’s budget was $20 million. According to a 5 May 1985 LAT brief, and a 14 Jun 1985 Back Stage article, the production moved to Peoria, IL, Richard Pryor’s hometown, the week of 4 May 1985, for an additional 10-day shoot. On 31 May 1985, a DV news item reported that principal photography had concluded.
       The 27 Apr 1986 LAT stated that when Pryor experienced challenges editing the film, he called upon old friend and former Universal Pictures president of production, Thom Mount, for help.
       An item in the 23 Oct 1985 Var stated that Columbia Pictures chief executive officer and chairman Guy McElwaine pulled the film from its scheduled 13 Dec 1985 release, and rescheduled it to open in the spring of 1986. McElwaine explained that Pryor needed more time for special effects and editing, and to procure music spanning three different eras.
       A 3 Apr 1986 HR article announced that a benefit premiere screening would be held on 29 Apr 1986 at the Academy of Motion Picture Arts and Sciences in Beverly Hills, CA. Mayor Tom Bradley and singer Stevie Wonder were selected to chair and co-chair the event, which was set to raise money for Bridge Back, Inc., and CareUnit Alumni Associates at Cedars-Sinai Hospital, two Los Angeles-based drug and alcohol rehabilitation programs.
       End credits state: “Stills from the motion picture Bustin’ Loose (1981) courtesy of Universal Pictures.” The following acknowledgments appear in end credits: “Thank you to The Citizens and City Officials of Peoria, Illinois,” and “Special thanks to Thom Mount.”

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Back Stage
14 Jun 1985
---
Daily Variety
29 Mar 1985
---
Daily Variety
31 May 1985
---
Hollywood Reporter
12 Feb 1985
---
Hollywood Reporter
3 Apr 1986
---
Hollywood Reporter
30 Apr 1986
p. 3, 9
Los Angeles Times
5 May 1985
---
Los Angeles Times
27 Apr 1986
Calendar, p. 3-4
Los Angeles Times
2 May 1986
p. 1, 21
New York Times
2 May 1986
p. 9
Variety
23 Oct 1985
---
Variety
30 Apr 1986
p. 23
CAST
NAME
CREDITED AS
CREDIT
And Introducing:
Ladies at grandmother's house:
Sig Frohlich
Showgirls:
+ −
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Columbia Pictures Presents
From Columbia-Delphi V Productions
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
Bryan Denegal
2d asst dir
DGA trainee
PRODUCERS
Assoc prod
PHOTOGRAPHY
Dir of photog
1st asst cam
2d asst cam
2d asst cam
1st asst cam
2d asst cam
Still photog
Video assist op
Still photog
Key grip
Dolly grip
Grip
Grip best boy
Gaffer
Michael Barrett
Elec best boy
Rigging gaffer
Set lighting tech
Set lighting tech
Set lighting tech
Set lighting tech
Addl cam op
Addl cam op
Dir of photog, Peoria crew
1st asst cam, Peoria crew
2d asst cam, Peoria crew
Still photog, Peoria crew
Video assist by
ART DIRECTORS
Prod des
Illustrator
Illustrator
FILM EDITORS
Asst ed
Apprentice ed
Apprentice ed
SET DECORATORS
Set dec
Set des
Set des
Set des
Set des
Sig Tingloff
Set des
Prop master
Asst prop
Const coord
Const foreman
Standby painter
Greensman
Lead person
Swing gang
Swing gang
COSTUMES
Cost des
Costumer for Mr. Pryor
Men`s cost
Women`s cost
Ward
Ward
MUSIC
Mus supv
Elsa Blangstead
Mus ed
Asst mus supv
Saxophone solo
Mus rec at
Mus scoring mixer
SOUND
Prod sd mixer
Boom op
Cableman
Re-rec mixer
Re-rec mixer
Re-rec mixer
Sd editing
Supv sd ed
Supv sd ed
Sd ed
ADR ed
Asst sd ed
VISUAL EFFECTS
Spec eff
Gemini Effect des by
Gemini Effect des by
Gemini Effects by
Opt eff supv by
Title des
Titles and opticals
Addl opticals by
DANCE
Choreog
MAKEUP
Makeup artist
Makeup artist
Hairstylist
Hairstylist
PRODUCTION MISC
Exec asst to Mr. Pryor
Scr supv
Asst to Mr. Pryor
Asst to Mr. Pryor
Asst to Mr. Pryor
Asst to Mr. Pryor
Asst to Mr. De Cuir
Prod office coord
Prod accountant
Atmosphere coord
Pub services
Transportation capt
Transportation co-capt
Casting asst
Prod auditor
Asst to Mr. Wilson
First aid
Craft service
Peoria loc
Peoria casting
STAND INS
Stunt coord
SOURCES
SONGS
“My Destiny,” produced by Arif Mardin, Phillipe Saisse and Chaka Khan, written and performed by Chaka Khan, courtesy of Warner Bros. Records; “Hey Lawdy Mama,” written by Cleve Reed, performed by Count Basie, courtesy of MCA Records, Inc.; “Mannish Boy,” written by McKinley Morganfield, Ellis McDaniel and Mel London, performed by Muddy Waters, courtesy of MCA Records, Inc.; “Out In The Cold Again,” written by Ruby Bloom and Ted Koehler, performed by Gene Ammons and Sonny Stitt, courtesy of Prestige Records; “Devil With The Blue Dress On,” written by Frederick Long and William Stevenson, performed by Mitch Ryder and Detroit Wheels, courtesy of Roulette Records, Inc., “I Do Love You,” written by Billy Stewart, performed by Billy Stewart, courtesy of MCA Records, Inc.; “For The Love Of Money,” written by Kenneth Gamble, Leon Huff and Anthony Jackson, performed by The O’Jays, courtesy of CBS Records; “Mighty Love,” written by Joseph Jefferson, Bruce Hawes and Charles Simmons, performed by The Spinners, courtesy of Atlantic Recording Corp. by arrangement with Warner Special Products; “Just Squeeze Me,” written by Duke Ellington and Lee Gaines, performed by Miles Davis Quintet, courtesy of Prestige Records; “In The Upper Room,” written by Mahalia Jackson, performed by Mahalia Jackson, courtesy of CBS Records; “I Heard It Through The Grapevine,” written by Norman Whitfield and Barrett Strong, performed by Gladys Knight and The Pips, courtesy of Motown Records; “Shotgun,” written by Autry DeWalt, performed by Jr. Walker and The All Stars, courtesy of Motown Records; “Ooh Baby, Baby,” written by Warren Moore and William Robinson, performed by Smokey Robinson and The Miracles, courtesy of Motown Records; “What’s Going On,” written by Renaldo Benson, Alfred Cleveland and Marvin Gaye, performed by Marvin Gaye, courtesy of Motown Records; “Goin’ To Chicago Blues,” produced by Cinemascore; “Satin Doll,” produced by Cinemascore; “Lonesome Lover Blues,” produced by Cinemascore; “Play-Off,” produced by Cinemascore; "Play-On,” produced by Cinemascore.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
2 May 1986
Premiere Information:
Los Angeles premiere: 29 Apr 1986; Los Angeles and New York openings: 2 May 1986
Production Date:
11 Feb--mid May 1985
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Industries, Inc.
2 June 1986
PA293316
Physical Properties:
Sound
Color
Lenses
Lenses and Panaflex® camera by Panavision®
Prints
Prints by Deluxe®
Duration(in mins):
99
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
27896
SYNOPSIS

African-American comedian Jo Jo Dancer calls friends to invite them to a Friday night party. He does not expect they will come, but when they accept his invitation, he must throw the party. After hanging up the telephone, he gets on his hands and knees, searching for pebbles of crack cocaine in the carpet. He stares at his puffy face in the mirror and has a panic attack. He throws empty glass bongs, liquor bottles, and cocktail glasses into the fireplace, repeatedly yelling, “I am through.” In the pockets of his jacket, he finds a tab of heroin, smokes it, and later, sets fire to himself. As paramedics wheel him into the hospital with second and third-degree burns covering thirty percent of his body, Jo Jo’s alter ego rises up intact from his charred body and warns that he better not die. The alter ego walks out of the hospital and takes a car ride back to his hometown of Morton, Ohio. There, he sits by the schoolyard and watches himself as an eight-year-old racing home with friends. Little Jo Jo delivers his report card to his grandmother, a madam who runs a brothel, and she is pleased with his grades. They show off his report card to the prostitutes inside. As his father signs his report card, Little Jo Jo remarks that he does not like living at the brothel. The boy tells his alter ego that he lied at school when his teachers asked him what his parents did for a living. As Big Jo Jo tells him that he was clever to lie, the boy recognizes his older self and knows he can expect trouble when ...

More Less

African-American comedian Jo Jo Dancer calls friends to invite them to a Friday night party. He does not expect they will come, but when they accept his invitation, he must throw the party. After hanging up the telephone, he gets on his hands and knees, searching for pebbles of crack cocaine in the carpet. He stares at his puffy face in the mirror and has a panic attack. He throws empty glass bongs, liquor bottles, and cocktail glasses into the fireplace, repeatedly yelling, “I am through.” In the pockets of his jacket, he finds a tab of heroin, smokes it, and later, sets fire to himself. As paramedics wheel him into the hospital with second and third-degree burns covering thirty percent of his body, Jo Jo’s alter ego rises up intact from his charred body and warns that he better not die. The alter ego walks out of the hospital and takes a car ride back to his hometown of Morton, Ohio. There, he sits by the schoolyard and watches himself as an eight-year-old racing home with friends. Little Jo Jo delivers his report card to his grandmother, a madam who runs a brothel, and she is pleased with his grades. They show off his report card to the prostitutes inside. As his father signs his report card, Little Jo Jo remarks that he does not like living at the brothel. The boy tells his alter ego that he lied at school when his teachers asked him what his parents did for a living. As Big Jo Jo tells him that he was clever to lie, the boy recognizes his older self and knows he can expect trouble when he grows up. He wants to know if Big Jo Jo can change the future. The alter ego tells Little Jo Jo he can try. Big Jo Jo visits his mother in her room at the brothel. She hugs him and says that she loves him, although she never told him so as a child. Back at the hospital, Big Jo Jo stares at his body, wrapped from head to toe in white gauze. He announces that he is going back in time to figure out how his life became such a mess. At a dinner table sometime in the past, Jo Jo’s father, Charles, is angry when he discovers his son has quit his job cleaning hog guts to go into show business. They fight, and Charles kicks his son out of the house. The next day, Jo Jo boards a bus to leave town, but his wife, Grace, refuses to go with him, claiming she does not want to leave her parents behind. She tells him that he can always come back home, but he insists that he is never coming back. In Cleveland, Ohio, a nightclub owner named Mr. Spencer, who previously promised Jo Jo a job, turns him away. Jo Jo’s sleazy hotel room is robbed, and the hotel clerk insists that he pay for his stay with his last remaining dollars. Jo Jo finds work shining shoes, and buys new clothes at a thrift store. At the Shalimar Club, he goes backstage and introduces himself to a stripper called “Satin Doll.” She recognizes him from an amateur night at another nightclub, and agrees to help him. The following week, Satin Doll arranges for Jo Jo to do his routine at the Shalimar. On stage, Jo Jo is terrified, but he wins over the audience with his impression of a baby being born. Satin Doll and club host Johnny Barnett congratulate Jo Jo. Later, Johnny comments that Jo Jo talks too fast, so that some of his punch lines are lost. He gives Jo Jo some drugs to help him relax. Jo Jo loses his inhibitions, and performs in drag, mimicking Satin Doll’s striptease act. After Jo Jo’s performance, club manager Sal tells Satin Doll that performers will not get paid until the following week. When Satin Doll relays the news to Jo Jo, he grabs a fake gun and confronts club owner Gino. Before tensions erupt, Satin Doll’s boyfriend, Detective Lawrence, barges in and sways Gino to pay Jo Jo his wages. Gino hands over a wad of bills, and tells Jo Jo that their business is finished. Later, Satin Doll and Det. Lawrence warn Jo Jo that the Italians will come after him, and advise him to flee. Satin Doll gives him a book, and stashes $200 in the pages, promising to send his possessions. Back in the present, a doctor announces on television that Jo Jo has developed respiratory complications. Elsewhere, Jo Jo’s wife assures their daughter that her father will not die. Back in the past, Jo Jo falls in love with a white woman named Dawn. He wants to marry her, but she is content to live together. After a rough night in which Jo Jo battles a female heckler, Dawn assures him of his talent. Jo Jo takes a walk in the neighborhood to clear his head, and gathers more material for his standup act. He talks about winos directing traffic, asks why white people do not make noise when they speak, and does impressions of black people and their mannerisms. Soon, he develops a following and begins earning money. He gives Dawn a fancy ring. A fan invites Jo Jo and Dawn to party at his house, where he offers them cocaine. In the early hours, Jo Jo discovers Dawn having a threesome with the man. As Dawn meets up with Jo Jo in the hallway, the fan offers a weak excuse for their behavior, and Jo Jo punches him in the face. At the hospital, Big Jo Jo gazes at burn victim Jo Jo, and remarks that he cannot change anything that has happened, but he can conjure up memories to revisit. Burn victim Jo Jo remembers the first time he met his girl friend, Michelle Jensen, at a club: He invites her back to his house and they play pool. Michelle has other lovers and a confident air. They make love. Eight months later, a drunken Jo Jo argues with a film director about cutting scenes from a movie they are filming. Jo Jo wants the scenes to stay, but when Michelle, now his wife, appears, the director suggests she talk her husband out of his opinion. As they drive along the coast, Jo Jo discovers that Michelle’s lover, George, bought her the car they are driving. He is incensed, and asks her to pull over. Before the fight can escalate, his alter ego appears in the back seat, and reminds Jo Jo that he loves Michelle, cautioning him not to start a fight. Jo Jo apologizes for losing his temper but makes the mistake of admitting that he slept with other women. When a fight breaks out, Jo Jo sends the car crashing into the ravine. Michelle insults him and runs off. As Jo Jo watches Michelle ranting, his alter ego asks him, “What’s the matter with you, boy?” The phrase reminds him of his grandmother, and the advice she gave him when three bullies jumped him at the railroad tracks. She was the only person who understood him, loved him, and cared about him. He was devastated when she died. Later, Jo Jo spends his days smoking drugs, but he denies it when anyone calls him a junkie. He tells his alter ego to leave him alone. The alter ego guesses that he just wants to die. Jo Joe cries out that he wants his soul back, pleading with his alter ego to help him before emptying a liquor bottle onto his clothes. The alter ego urges him not to harm himself, but Jo Jo cannot stop. He sets himself on fire with a cigarette lighter. At the hospital, one doctor believes Jo Jo has lost the will to live. Burn victim Jo Jo asks his alter ego for help, and Big Jo Jo returns to his broken body. The comedian recovers from his injuries and resumes doing standup. One night, Jo Jo does a show, delivering a mock eulogy for his former self-destructive self. The audience loves it and gives him a standing ovation.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

The Terminator

A full-page advertisement in the 24 Feb 1984 DV announced the recent start of principal photography, referring to the film by its working title, Terminator. ... >>

Casablanca

In the onscreen credits, actor S. Z. Sakall's name is incorrectly spelled "S. K. Sakall." HR news items add the following information about the production: ... >>

The Long Haul

Onscreen credits contain the following written acknowlegment: "The producer gratefully acknowleges the assistance and facilities made availabe to the producer by Leyland Motors Limited." Tom Morahan's onscreen credit reads ... >>

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.