It says quite a bit about Sidney Poitier’s reputation that upon watching Stir Crazy, the words “directed by Sidney Poitier” come as a genuine surprise, and even for those of us who knew that the esteemed actor and Hollywood icon was at the helm, it’s still difficult to believe. This isn’t a statement on his presumed stoicism and humourlessness (especially since everything we know about him shows that he is far from dour), or that he wasn’t capable of directing what is essentially a very simple premise. Instead, it’s just a matter of realizing that this actor, who had made such a considerable difference throughout the 1950s and onwards, would be interested in directing a film of this calibre. Make no mistake – this is quite possibly one of the funniest and most inventive films of its era. However, those qualities are almost surprising, considering the source – but yet, Poitier’s latter career was defined by his decision to frequently work in more mainstream fare, which often included directing big studio films that starred his friends and frequent collaborators, and the fact that he managed to built quite a formidable career out of doing this, and still managed to remain one of Hollywood’s most important and distinctly gifted actors on the side (albeit at a much slower pace – by the time he had taken on more directing duties, his acting roles were less sporadic, and whether this is a case of Poitier intentionally slowing down or just not being satisfied with the kinds of roles being offered to him remains to be seen) is quite an achievement, but not one that is at all surprising. He simply wanted to make films that would entertain and elevate, and while Stir Crazy is neither his best nor his funniest film (which would belong to Buck and the Preacher and Uptown Saturday Night respectively), but it is oddly the directorial effort for which he is most fondly remembered, likely the result of it seeming so bizarre that he would be behind the camera on such a film, which only adds to its effortless charm.

While those of us with a penchant for behind-the-scenes details will likely be interested in Stir Crazy based on the director, the general public mostly gravitated towards it based on the pairing of the actors in the central roles. Gene Wilder and Richard Pryor were, without any sense of hyperbole, two of the funniest individuals to ever appear on screen, in any medium. Wilder made his living under the tutelage of directors like Mel Brooks and Woody Allen, carefully cultivating a career filled with memorable comedic parts that showcased his interesting range, as well as impelling him to step behind the camera himself on a few occasions. Pryor, on the other hand, made his name in stand-up comedy, achieving a deity-like status amongst his peers and the innumerable young comics that he would go on to influence, many still citing him as their inspiration to this very day (and when someone like Eddie Murphy, who has inspired countless young comedians himself, states that you are his primary influence, then it’s clear that you have started a lineage that has helped define this industry, earning his place as one of the most integral figures in that particular medium). Yet, even though they were immensely successful individually, it was proven on multiple occasions that pairing them together was an easy way to not only guarantee an abundance of laughter, but also that these two inarguably popular comedic minds would bring in a large viewership, who would doubtlessly jump at the opportunity to see these two masters of their craft not only take on such an intriguing story, but to do so together, which can only lead to some absolutely hilarious and outrageous scenarios. This was a film built out of the desire to present audiences with something different but still very entertaining, and casting this duo as the central characters was an immediate indication of immense success, since having such a formidable pairing would rarely have any chance of failure, especially not with as gifted an artist as Poitier guiding them through this film.

Stir Crazy wasn’t their first time working together (they were previously cast together in Silver Streak, and they would reunite for See No Evil, Hear No Evil a few years later – neither film being nearly as good as this one), but it is certainly the one that is most memorable in terms of showcasing their comedic talents. Some may think the odd couple scenario of a blind man befriending a deaf man as the only witnesses of a murder would be the most appealing – and it is the most traditionally funny – but it was this film that demonstrated not only their incredible styles of humour, but also their more dramatic talents, since these are characters that needed some depth to them, despite the film being almost entirely composed out of jokes. Like many great comedies, this works the best when it features performers who bring the same amount of dedication to gravitas to the silliest joke as they would to the most serious, sobering moment – and the collision between someone like Poitier, who had primarily worked in drama in his capacity as an actor, and the pairing of Wilder and Pryor, neither of whom did much dramatic work themselves (or at least not much that stands out enough to indicate that they were ever interested in pursuing straight drama beyond a few brief flirtations with the genre) creates a fascinating dynamic that is explored in detail throughout the film. We may need to take a few steps back from time to time to acknowledge some of the bolder choices that encompass the film, but there is a genuine sense of intrigue and complexity that drives this story, and we find the actors doing quite a bit to elevate it beyond just a run-of-the-mill comedy. It helps that this is the one collaboration between them in which their characters are friends from the start (rather than strangers that find that they have an unexpected connection and form a friendship along the way), since it doesn’t need to waste any time establishing their common ground – we just know that these two down-on-their-luck eccentrics have many similarities and differences, which are used to create this very funny buddy comedy in which they prove their immense talents both individually and together, demonstrating an astonishing level of chemistry between them.

In circling back to the conversation around how atypical this film feels for a Poitier-directed project, we can look slightly deeper and easily begin to understand exactly what it was that possibly drove him to this material. At its most fundamental level, this is a film that may be a comedy, but it is one about the miscarriage of justice, focusing on the concept of false allegations, which may be constructed as the source of immense humour, but has a much deeper and more complex meaning, especially if we take into account the staggering number of people (particularly people of colour) who are needlessly prosecuted, or perhaps even outright murdered, for simply being in the wrong place at the wrong time. The fact that this story still resonates today as much as it did in 1980 is a clear sign that there is an undercurrent of complex thought that fuels a lot of this story – and whether or not Poitier was attracted to the material based on the fact that it covered some very bleak subject matter in the form of a humorous buddy comedy, or because he simply found the premise entertaining enough to sustain an entire film remains to be seen – but it is almost certain that without this level of dedication and profound interest in the material, which tackles subjects as intimidating as prison reform, the prosecution of innocent individuals, and the crooked, draconian institutions built on the system racism and bigotry that has been present in the country since its colonial days. Whatever the motivation, it is clear that Poitier had enormous ambitions for this film, and his gradual examination of the various facets of everyday life, and his ability to still weave in a lot of comedy, only helps make Stir Crazy all the more entertaining, since this is not a film that should be taken seriously, but rather a very funny film with a deep sense of social and cultural awareness, the kind that we may not necessarily expect or anticipate, but rather will be surprised to encounter in our journey through the demented by hilarious world that these character inhabit, which is far more interesting and complex than a cursory glance may suggest.

There isn’t much need to wax poetic about Stir Crazy or view it as anything other than a very charming, hilariously upbeat and captivating comedy about the power of friendship and its ability to help overcome even the most challenging obstacles that are set out before us – but when you are looking at a film that features two of the finest comedic minds of their generation, who also happen to be under the direction of a filmmaker who set the standard for an entire generation of actors in Hollywood, then you’d be foolish to just take it at face value and not question the impact and nuance that drives such a film, which is just as important (if not more so) than anything else that we can find being done with this film. It’s a simple premise – it follows a strict formula (almost to the point of being too well-polished in how it adheres to a very stringent pattern), and it can be quite predictable at times – a film like this cannot ever afford to be divisive, so it’s obvious that the heroes will always get away and have their happy ending. However, there are still many surprises hidden deep within this film, which is a far more complex and riveting experience than we’d think based on a quick overview of the premise and overall direction the story seems to be moving in. The best way to approach any film, especially one with this calibre of talent, is through employing the principle of expecting the unexpected, since we never quite know what will be waiting for us on the other side. Unique, hilarious and always heartfelt, but not afraid to shows its jagged edge, Stir Crazy is an appropriately well-constructed film with a lot of meaningful ideas, and a perspective that is positively begging to be explored in detail, which all falls under the responsibilities of Poitier, who shepherds this story to the screen with wit, humour and pathos, and emerges triumphant in the process.