Starring: Eddie Murphy, Wesley Snipes, Keegan-Michael Key, Mike Epps, Craig Robinson, Titus Burgess, Da’Vine Joy Randolph, Aleksandar Filimonovic
OUR RATING: ★★★★☆
Bio-comedy drama directed by Craig Brewer. Based on the life of comedian Rudy Ray Moore (Eddie Murphy), well-known for his raunchy, X-rated stand up that he also infused with rapping and rhythm. He became popular for his creation of the character Dolemite in his stand-up routines that, after five years of performing as the urban hero, he decided to bring to the big screen with the 1975 movie of the same name.
Our Favorite Quotes:'Luck is where opportunity meets preparation.' - Rudy (Dolemite Is My Name) Click To Tweet 'I want you to live the life that you love and love the life that you live. From the frantic Atlantic, to the terrific Pacific, be the best of whatever you are. Shoot for the moon, and if you miss it, cling on to a mf'ing star.' Click To Tweet
Best Quotes (Total Quotes: 47)
[Rudy is trying to get his music on the air in an in-store radio station]
Roj: Rudy. Man, I only play the hits.
Rudy: Hey, but that should’ve been a hit, man. Those m*therf**kers at Federal Records was going to take it all the way to the top. Man, they signed me. Was going to do it all. They were going to promote the sh*t out of the thing, and then they signed that f**king James Brown. He come out jumping around, doing splits, and sh*t, and shaking his black a**, and sucked up all the attention.
Roj: Say, man, do you think I want to work at a ghetto record store as a DJ? Sometimes our dreams just don’t come true.
Rudy: They still can.
Roj: No, brother. We missed our shots. I think we both need to get back to work.
Rudy: Alright, man. Thanks for nothing.
[to himself in the mirror]
Rudy: Dolemite is my name, and f**king up m*therf**kers is my game!
[as Rudy turns up at the club he’s working at wearing a tux and brandishing a cane]
Club Owner: What did you do to your hair? You look like a pimp!
Rudy: I come up with a new character, and all new material too. Well, actually, it’s old material.
Club Owner: I don’t need this. Just stick to your regular set.
[as he turns and walks off]
Club Owner: It’s always something.
Aunt: Say, when’s the last time you been back to Arkansas?
Rudy: Oh, a long time. I ain’t got a lot of good memories from back home, you know, so I don’t be thinking about back home much. Basically, when I think about back home, I think, “F**k back home.”
Rudy: Hey, you know, Auntie?
Rudy: You know, I was thinking about maybe putting out another record.
Aunt: Another record? Why don’t you help me get rid of some of that sh*t that’s stacked up over there in the corner? “Another record.”
Rudy: This time, I’m going to put out a comedy record.
Aunt: Comedy? You’ve been a singer, you’ve been a shake dancer, and one time, I think you even called yourself a fortune teller.
Rudy: Yeah, well, you know, it’s real hard to break in. I’d do whatever it takes to get in.
Rudy: I want to be entrepreneurial on this thing, and I need you to loan me some money so I can get some recording equipment.
Aunt: No, no. Mm-mm.
Rudy: Come on, Auntie. You rich, woman.
Aunt: I’m not rich. What make you think I’m rich?
Rudy: What happened to all that money you made when you fell off that bus?
Aunt: Uh, that is my money, to do with what I want to, and I only got two hundred and fifty dollars.
Rudy: That’s exactly how much I need to be a star.
Aunt: Oh, no, no, no.
Rudy: Come on, woman. Loan me the money, woman, please?
[he goes over and puts his arms around her neck affectionately]
Aunt: I got my coat on layaway.
Rudy: Oh, won’t you please give me the money, woman?
Aunt: I’m already into them for fifty dollars…
Rudy: Please! Oh, she’s going to give me the money.
Aunt: Because you’re about to cut off my air supply. Get up from around my neck!
Rudy: Why you so f**king stingy, then?
Aunt: Ain’t this a b*tch?
Rudy: Give me the money, woman.
[he playfully picks up her dinner knife]
[referring to Rudy’s comedy album]
Lou Drozen: Okay, I’ve heard enough.
Rudy: Hey, but you haven’t even got to the…
Lou Drozen: It’s filthy! And I know filthy. Jesus, you can’t play that over the radio. And you can’t sell it over the counter in most cities. Record stores, they don’t want to be raided.
Rudy: Raided? Hey, come on, man. The world has changed.
[to Ray; referring to his comedy album]
Lou Drozen: You’ve got a product here that you can’t sell or promote.
[on the state doing his routine]
Rudy: Yes, I want you to listen, and listen well. Because I’m that bad m*therf**ker that drove the devil out of hell. I once walked from New York City to the deep, deep South just to slap a son of a b*tch in his m*therf**king mouth. Mules have kicked me, and they didn’t bruise my hide. A rattlesnake bit me and then just crawled off and died. Because Dolemite is my name, and f**king up m*therf**kers is my game!
[at the photo shoot for his album]
Rudy: I’m like Muhammad Ali. We’re getting ready to shock the worlds. I got to be totally outrageous.
[he drops his robe and stands in front of the Bihari brothers naked]
Rudy: That’s what I’m talking about.
[after Rudy meets Lady Reed whilst touring to sell his comedy record]
Rudy: I’m not really no pimp. I ain’t got no stable of wh*res. I just created a character. I do it all the time. I’ve been Prince DuMarr. I’ve been the Harlem Hillbilly. And tonight, look at this here.
[he leans down his head a little]
Rudy: Tug on my sh*t.
Lady Reed: Tug on what?
Rudy: Tug on my, just tug on me.
Lady Reed: Tug on this?
[referring to his hair]
Rudy: Mm-hmm. Just give a little tug.
[Lady Reed pulls on his hair a little]
Rudy: Don’t tug too hard. Don’t take the m*therf**ker off.
Lady Reed: Oh, sh*t. That’s a m*therf**king wig.
Rudy: Wig. That’s right. It’s all pretend. Put on a cape and turn into a f**king superhero. Leave the real you behind. Go onstage and…
[he snapes his fingers]
Lady Reed: Magic, huh?
Lady Reed: You a trip.
[referring to Billy Wilder’s movie The Front Page they’re watching in the cinema]
Jimmy: Hey, man, what the f**k is this? This sh*t ain’t funny. I don’t get it.
Ben: What the f**k are they talking about?
Jimmy: I don’t know sh*t.
Ben: Who is Herbert Hoover?
Rudy: Know how many mule miles I had to drive cross this country to get my name in people’s mouth? I got to get up on that light. If I get up in that light, with my own movie, I could be everywhere. I could be everywhere all at once.
Rudy: I have a gigantic fan base. Just did a national tour, just got back from it. And I had two albums hit the Billboard charts at the same time. That’s why I feel it’s time for me to make my move to the big screen.
Walter Crane: Right. Uh, if I could just shoot straight with you? When we say gigantic fan base, aren’t we really just talking about a small group of passionate brothers and sisters here or there? I mean, your appeal is limited. It’s not exactly like you’re playing the Apollo. Now, surely you wouldn’t suggest for American International to invest the likes of three hundred thousand dollars to turn this into a major production now, would you?
Rudy: Yeah, but come on, man. I see all y’all’s posters here. I fit in perfect. Black folks love me.
Walter Crane: Yeah, you see, that’s just the thing here, Rudy. Here, we do a certain type of black picture. The actors we hire are like, uh, Fred Williamson, Jim Brown. Now, see, you on the other hand, you’re a bit doughier than them, you see?
[he looks down at himself]
Rudy: Well, hey, man, I put on a girdle. What I got to do?
Rudy: Come on, brother. They waiting on Dolemite movie. Let’s bring Dolemite to the screen.
Walter Crane: I don’t know how much longer we can do these pictures, Rudy. You see, that’s why we changing our approach. We got a new one coming, and I bet you going to like this. You really going to dig this one. Check this out. It’s called Cornbread, Earl and Me. It’s about a kid from the ghetto that’s the first from the neighborhood to get out of there and make it to college. Now, don’t that make you feel good on the inside, Rudy?
Rudy: Brother, don’t nobody want to see no sh*t like that.
Toney: Come on, Rudy. Be realistic. You’re not a movie star. You’re not an actor. You’re not Billy Dee Williams. You’re a comedy star. Be happy with that.
Rudy: Man, I want more. All my life, people been telling me no. My daddy always told me I was a piece of sh*t. Just another dumb-a** country-poor n***er. Thought I was going to be a sharecropper like he was.
Toney: I can’t imagine you plowing fields.
Rudy: He wasn’t my real daddy, nohow. Dirty rotten m*therf**ker, always beating on me. That’s why I left home when I was fifteen, go and make something of myself.
Toney: Look, man. We all had sh*tty childhoods, but that don’t mean you can just will yourself into being a movie star.
Rudy: Well, why not, Toney? Sh*t, I willed myself into being a comedian. I willed myself into being a singer. I even made my own album in my goddamn living room. How come I can’t be in the movies?
Rudy: I want the world to know I exist.
[trying to write Rudy’s script for his movie]
Jerry: We want this thing to be raw. Tell it like it is on the streets.
Rudy: Yeah, lots of pimps, and wh*res, and cussing, and all of that sh*t. And kung fu, karate. Brothers love all that kung fu. You got to have all the kung fu, and karate, and that Bruce Lee sh*t. They love that.
Jerry: I’m sorry, do you know karate?
Rudy: No, but I’m a fast learner. I can learn how to chop me a m*therf**ker!
[trying to write Rudy’s script for his movie]
Jerry: Rudy, um, in storytelling, it’s always best to, um, you know, write what you know.
Rudy: Now what do you mean when you say “write what you know”?
Jerry: What do I mean? You’ve lived a life, you know? Things you’ve done. So you tell stories about your own experience.
Rudy: Man, it ain’t nothing to talk about my personal life whatsoever, man. Nothing interesting happen there. I deal with the professional.
Jerry: Okay, good.
Rudy: Yeah, that’s the night life. And it’s clubs, and club owners, and promoters, and mobsters, and the money be disappearing all the time, and you got the pimps and wh*res turning tricks in the walk-in freezer.
Jerry: That’s good. Okay, then. Yeah. We could use all that.
[they spot D’Urville in a strip joint]
Jimmy: Say, Rudy. Hey, that’s D’Urville Martin.
Rudy: That ain’t no f**king D’Urville Martin. What would D’Urville Martin be doing in here, man?
Ben: Who’s D’Urville Martin?
Jimmy: Oh, you know. That sidekick n***er that did, uh, N***er Charlie. He did Black Caesar, and Hell Up in Harlem. You know him.
Ben: He’s sitting right over there?
[Rudy gets up and walks over closer to where D’Urville is sitting to take a close look]
Rudy: Hey, that is D’Urville Martin.
Jimmy: I told you.
[Rudy walks over to D’Urville’s table]
Rudy: D’Urville Martin? I’m Rudy Ray Moore. You probably don’t recognize me, because I usually have on my album covers a big afro wig, and sometime I don’t wear anything.
D’Urville: Oh, well, that must be it then.
Rudy: Hey, man, what I’m offering is a professional situation here. I’m offering you a role in my new motion picture film.
D’Urville: What’s the part?
Rudy: Well, it’s actually not written yet, brother, but we’re open to your input.
[Rudy sits down at D’Urville’s table]
D’Urville: Woh, woh. Wait a minute. I am legit, man. I have an agent. I have an entertainment lawyer.
D’urville’s Date: That’s right.
D’Urville: You just thought you was going to walk up in here and make a deal, huh? Just because you lucky enough to find me in the strip joint. No, no, no.
Rudy: Well, you know what they say, brother. Luck is where opportunity meets preparation.
D’Urville: What the f**k is that?
D’Urville: [to Rudy] Hey, look here, man. Look here. If I was white, you think you could just walk up here and hire me? No. I’ve been directed by Roman Polanski.
Ben: Rosemary’s Baby. That’s what it is.
D’Urville: You goddamn right.
Ben: You were the elevator operator.
Jimmy: Yeah. Yeah.
Ben: A small part.
Jimmy: A small part. You’ve been working for that white man. You need to be careful…
D’Urville: White man? I got your white man swinging…
[he gets up in anger]
D’urville’s Date: Calm down, baby. Calm down.
[referring to Ben and Jimmy]
D’Urville: Hey, looky here. These guys with you?
Rudy: Yeah, man. We the producers.
D’Urville: Mm-mm-mm. Well, looky here. I’m going to tell you something.
D’urville’s Date: It’s okay, baby.
D’Urville: You m*therf**kers are the worst producers I have ever met in my life. Think you can just walk up in here, engage an artist’s talent with belittlement? Insult? Get to trucking, baby.
D’urville’s Date: Trucking.
Rudy: What if we let you direct?
[Rudy is asking his record company for an advance on royalties from his album to fund his movie himself]
Joseph Bihari: Uh, Rudy, you’re very persuasive. We admire your passion.
Lester Bihari: You got to understand, Rudy. You’re not just asking for a loan here. You know, you’re asking for an advance on future royalties. We’ll do it, it’s no risk to us, but if you blow it, we’re going to own your records till the end of time.
Rudy: Well, I know all that, but I’m going to bet on myself. Ain’t nobody going to put me on the screen, except for me, and everybody I talked to say they want to see a Dolemite movie.
Julius Bihari: Well, you understand you’re not supposed to make a movie for the five square blocks of people you know.
Rudy: Well, that’s fine with me, because every city in America got them same five blocks, and those folks is going to love it.
Jerry: Hey, Rudy. Rudy, man, these are the kids I was telling you about.
Jerry: Good to see you, Nick. Glad you made it.
[Rudy shakes Nick’s hand]
Rudy: Dolemite is my name, and f**king up m*therf**kers is my game.
Nick: Oh, right. Right. Nick von Sternberg is my name, and UCLA Film School is the place that I, it’s my school. Jerry I met at the acting class.
Jerry: I was his acting teacher. But I got to tell you, Rudy, you got to see this kid’s short films. He’s amazing, man. Outstanding.
Rudy: He look like one of them Alfred Hitchcock m*therf**kers.
Nick: That’s very kind of you. Um, currently, though, we’re looking for the UPM, or an AD. I’m curious, are we filming on Panavision or Arri?
Rudy: Oh, son. We don’t really know all that technical stuff. We don’t know a lot about that stuff. Look, we got a really dedicated crew here, you know, but the truth is, ain’t nobody ever really been on a movie set before, so we don’t know all that technical stuff like lights, and sound, and camera. You know, we don’t know that.
[referring to Nick and his crew]
Ben: Why we need these white boys telling us what to do?
Toney: Use your head, Ben. Don’t none of us know what the f**k we’re doing. If we’re going to make a movie, we need movie making people. Don’t matter if they’re black, white, or polka-dot.
Ben: Well, I ain’t taking orders from them.
Toney: You don’t have to. You’re the caterer. So just feed the honkies, okay?
[looking at an old photo of his father]
Rudy: You dirty m*therf**ker. You told me I wasn’t sh*t, huh? You the one that ain’t sh*t. Look at me now, m*therf**ker. Want to know who I am? I’m Dolemite. F**king farmer.
[in front of the mirror]
Rudy: Dolemite is my name, and f**king up m*therf**kers is my game, you no-business-born, rat-soup-eating, insecure m*therf**ker. Dolemite is my name, and f**king up m*therf**kers is my game. No-business-born, insecure, junkyard-rat-soup-eating m*therf**ker!
Rudy: I know you Mr. Big Time, but the rest of us ain’t never done no sh*t like this before. I’m paying for this whole goddamn thing, and I ain’t got no f**king ego about it. If a box need to get moved, I will move the box, and if the crew get hungry, I go downstairs and start making sandwiches. Because we are here to work together to make a movie!
D’Urville: It’s cool, baby. There ain’t no smoke, man. Everything cool.
[referring to Rudy as they’re shooting a scene for the movie]
D’Urville: I don’t understand this cat. He pretending like he know karate. Pretending like he could be a sex machine. Like a little kid playing dress-up. What planet is this cat on?
[after a scene with Rudy doing what is supposed to be karate fighting]
Rudy: How was that?
D’Urville: I see no reason to do it again.
Rudy: Was it good as Shaft?
[as Rudy is trying to raise more money for the movie]
Lester Bihari: Yeah, well, another ten grand’s not that simple, Rudy. It’s a lot of f**king money. I mean, if this thing flops, you’re going to be working for free for the rest of your life.
Rudy: Oh, like I’m going to be y’all’s slave then, huh?
Lester Bihari: Oh, come on. Don’t go there, Rudy.
Julius Bihari: You created this situation. Don’t you go there. Did you put in any contingency for overruns? Editing? Post?
Rudy: If that means more money, then, no, I’m busted. But I can’t go back there and tell them to stop now. It’ll crush everybody. Everybody put so much into this f**king movie, man. I don’t want to let them down like that. Please, come on, man. We just an inch away. Let us finish this f**king movie, please.
[pause as the Bihari brothers look at each other]
Lester Bihari: Okay, Rudy.
[Julius shakes Rudy’s hand]
Rudy: Alright. Okay.
[to Rudy and the crew, after finishing shooting a scene]
D’Urville: That’s it, y’all. We’re done. Thank God for that sh*t. Oh, Lord, this was a living hell. I don’t know how I got myself into this, but they say sometimes you got to go through hell to get to heaven. And that’s exactly where I’m going. I just got a call from Black Caesar. Fred Williamson. He’s my friend. We’re going to do a real movie.
[he opens the door to leave]
D’Urville: Damn. So I wanted to say, you all did a good job. Crew, stunt peoples, wh*res. I’m going on now. I’ll see you all at the premiere. Okay.
[he leaves and closes the door, after a short pause he opens the door]
D’Urville: No, no, no. Probably won’t be a premiere, so.
[he shrugs and closes the door again]
[after Ray fails to get his film purchased by a distributor]
Ben: Well, at least we had a good time.
Rudy: You know what, Ben? F**k you, man. Your a** had fun because you ain’t have to pay for all this sh*t. I’m in debt up to my ears. I gave all my record royalties to the Bihari Brothers, and don’t nobody want this damn movie.
[as he looks at the bills for all of them eating at the diner; to Toney]
Rudy: And you got a whole lot of nerve ordering a extra side of greens at a time like this. You pay for these f**king greens yourself. In fact, you’re all going to all start paying for your own sh*t, because I ain’t no f**king endless faucet of f**king money.
Rudy: Here, you pay for them waffles.
Rudy: You pay for that burger.
Rudy: You pay for your sh*t and your extra greens.
Rudy: You’re having strawberries. You pay for your m*therf**king strawberries your damn self.
Jimmy: You know, I don’t understand your attitude. I mean, it ain’t like you ain’t never been told no before, Rudy. I mean, you’re the comeback king, man.
Rudy: Yeah, when we doing stuff I know about. Nightclubs and records. Those is my world, okay? A man slam a door in my face, I just find another door. I thought anybody could be a star. But apparently don’t nobody want to see our ugly black a** up on the screen! Strawberry shortcake-eating m*therf**ker.
[Rudy starts to walk out of the diner]
Jimmy: Hey, man, I like strawberry… Rudy!
Jerry: Come on, Rudy!
[on the phone]
Rudy: I just can’t believe I’m back here on this grind. I’m actually worse off than I was before, because I don’t even own my records no more. Now what kind of fool works so hard to build something up like that and just throw the sh*t all away?
Lady Reed: Ah-ah. Mm-mm. No, Rudy. You ain’t no fool now. Watch your mouth.
Rudy: I thought that movie was going to change everything, make me a f**king star.
Lady Reed: Well, you’re still a star to me.
Rudy: Okay. Good night, Lady Reed.
[as Rudy is being interviewed on a local radio show]
Bobby Vale: What the f**k is your problem, man? I’m trying to help you out. I’m in here promoting you, and you won’t even answer my f**king questions.
Rudy: Hey, look, Bobby. I can’t answer your goddamn question because the movie ain’t never coming out, okay?
Bobby Vale: That don’t make no sense.
Rudy: Yeah, but it’s true. It’s done. Don’t nobody want to show the m*therf**ker. I don’t know what to do, man.
Bobby Vale: You know what? I got a cousin that manages a movie theater called Uptown. Maybe, you should give him a call.
[gives Rudy the number]
Rudy: But what’s he going to do?
Bobby Vale: I don’t know. Maybe run it. Play your damn movie. F**k it. It can’t hurt.
[as Rudy is trying to get his movie to show at Uptown Theater]
Rudy: So, when can I receive my advance?
Demond: What? Advance?
Rudy: The money, when you going to pay me?
Demond: No. You see, this is what they call four walling. Yeah. You pay me, and then you get all the ticket sales. We did it with Billy Jack. And I think we even did it with Grizzly Adams. Man, you could clean up if you’re successful.
Rudy: So I got to pay to show my movie?
Rudy: Well, goddamn. Am I going to get some of the popcorn money?
Demond: Oh, that’s mine. But you get all the box office. Now, if you promote the sh*t out the movie, well, you could make some serious bread.
[as they are watching the moviegoers reacting to his movie playing at the theater]
Demond: I’m a little confused. Now, is this movie supposed to be funny? I was expecting a Shaft kind of a thing.
Rudy: Of course it’s supposed to be funny. They get it. That’s why they’re laughing. It’s a comedy, and it’s sexy, and it’s action. It’s a total entertainment experience.
[on the phone]
Lawrence Woolner: Well, I’m delighted to finally speak with you. My name is Lawrence Woolner, and I run Dimension Pictures.
Rudy: Dimension Pictures? Ain’t y’all the rat soup-eating m*therf**kers that rejected me?
Lawrence Woolner: Uh, that’s right. That’s right. We did, but, uh, well, Hollywood is a fickle mistress, and we got a pitch for you that I think is going to knock you out of your seat. Dimension Pictures International would like to buy Dolemite.
[as they are going to meet with Dimension Pictures]
Ben: Hey, so, what we supposed to say?
Rudy: Nothing. Nobody say a f**king word, you just keep your mouths shut. The only reason you’re here is to make me look like a more legitimate organization. You got some hot sauce on your shirt. Man, clean that sh*t off, n***er. Come on, get the sh*t together.
[Ben tries to clean the sauce off his shirt]
Ben: Okay, okay, okay.
[during the meeting with Dimension Pictures]
Lawrence Woolner: We’re here to talk about your movie. We think there’s a golden opportunity here.
Rudy: Look, one thing you need to explain to me is why for come I need you? Because far as I can see, man, I’m doing pretty f**king good by myself.
Dimension Executive #1: Well, now, Rudy, there’s a certain professional way to go about distributing a film.
Rudy: And we all know that there’s a history of n***ers making some art, and the white man come along and steal all the money. And y’all sure in the f**k ain’t going to do to me what they did to Chuck Berry, huh? Hmm?
Lawrence Woolner: You know what? You want to do it your way, you go right ahead. You go out there, you introduce your movie into every theater in the country. You know, knock yourself out. You’re going to be releasing Dolemite for the next five years. But if you want to do it right, well, here we are. You know, hey, now, we’ve passed once, so we f**ked up.
Ben: Damn right, you f**ked up.
Lady Reed: You knock it down.
Toney: That’s the understatement of the year.
Lawrence Woolner: But allow us now to sell ourselves to you.
[as they’re about to go to the Hollywood premiere of Rudy’s movie]
Lady Reed: Hey, Rudy. Baby, we have come a long way from that club and that cow pasture.
Rudy: Oh, yes, mama, we have. Yes, we have.
Lady Reed: Oh, oh, Rudy. Um, I wanted to tell you something. Uh, I just wanted to say that I’m so grateful. I’m so grateful for you putting me in this movie, because I ain’t never seen nobody that looks like me up there on that big screen. You know what I’m saying? Oh, sh*t. I may not be sexy, but I’m a real woman, and I really appreciate what you did for me. So thank you.
[during the ride in the limousine to the Hollywood premiere of the movie]
Ben: Hey, hey, I found a review.
Rudy: What’s that say?
Rudy: Go ahead, man. Just spit it out. Go on, say, what is it?
[Ben reads the review]
Ben: “Dull-emite is a more apt title.”
Rudy: What did you say? What did you just say? “Dull” or “Dol”?
Rudy: Oh, really? Dull-emite. Dull-emite.
[Ben continues reading the rest of the review]
Ben: Um, “This could be the lamest film of the year. The plot is vague, and the actors scream their lines. Its only touch of originality is in the introduction of the fat man as romantic hero.”
Rudy: What’s wrong with being portly?
Toney: Not a damn thing.
Lady Reed: I don’t see nothing wrong with adding a few extra pounds, personally.
Rudy: Exactly. Ain’t nothing wrong with being a little heavyset.
Rudy: That’s just one review. What’s yours say there, Jerry?
Jerry: Um, “Dolemite is dreadful, humorless, and a technically terrible movie.”
Rudy: F**k that, Jerry, man. Critics don’t know nothing. Critics don’t even, I don’t even know why they come out in the first place. They don’t even like to have fun. Nobody care what the critics say. And besides, everybody know when the brothers go to movies, they want to see car crashes, explosions, and t**ties. And we’ve delivered that.
Lady Reed: Sure did.
[referring to another review of the movie]
Rudy: Look at this one right here. This is perfect. “Dolemite isn’t fit for a blind dog to see. It is coarse, rude, crude, and vulgar.” Perfect.
Jerry: Perfect? But why in the world do you like that one?
Rudy: Because that’s going to make people say, “I’m going.” They’re going to want to see just how coarse, rude, crude, and vulgar Dolemite is.
Toney: I’ll be damned.
[after reading the bad reviews, everyone in the limousine looks sombre]
Rudy: Hey, don’t nobody worry about nothing. No matter what happens, tonight is a victory already, even if don’t but five people show up. Look how far we came. We’re riding in a limousine on opening night to see our movie that we made. I’m proud of myself. Y’all should all be proud of yourselves too, because I’m proud of you all. We’re family, and we did a movie. We’re going to see our movie.
[after arriving at the premiere to find a crowd of people cheering for them outside the theater]
Rudy: Yes, ladies and gentlemen. I just want to say it’s a pleasure to have y’all come out here tonight, but I’m sorry to tell you, it’s going to be a bit of a wait! But don’t worry. Don’t nobody leave, because I promise you it’s going to be worth it! Because like I always say, Dolemite is my name, and rapping and tapping is my game. Yes, I’m young and free, and just as bad as I want to be. Take a look at me. I’m a rare specimen of a man, don’t you agree? I want you to live the life that you love and love the life that you live. From the frantic Atlantic, to the terrific Pacific, be the best of whatever you are. Shoot for the moon, and if you miss it, cling on to a m*therf**king star.
Total Quotes: 47
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What an amazing story of hope, courage and redemption. Loved the movie!!! Dolomite teaches us that we must believe in ourselves and our dreams because there are too many people who want to limit our lives. If we live our dreams and fight for them-then the sky is the limit. This quote sums up his soul “I want you to live the life that you love and love the life that you live. From the frantic Atlantic, to the terrific Pacific, be the best of whatever you are. Shoot for the moon, and if you miss it, cling on to a m*therf**king star.” And I believe that everyone should have a little bit of his spirit to live your best life! Eddie Murphy deserves an Oscar for his performance!!! Very inspiring life and character♥♥♥♥