Nutty Professor II: The Klumps (2000): Eddie Murphy’s Wild Ride Through Family Follies and Fat Suits

In the summer of 2000, Eddie Murphy returned with a sequel that bloated comedy to new proportions, proving that laughter could be as over-the-top as a family reunion gone gloriously wrong.

Step into the chaotic world of the Klump family, where one man’s scientific ambition collides with the quirks of his larger-than-life relatives, all brought to vivid, hilarious life by Eddie Murphy’s unparalleled shape-shifting talents. This 2000 sequel amplified the original’s body-swapping antics into a full-blown family affair, cementing its place in late-90s comedy cinema.

  • Eddie Murphy’s tour-de-force performance, juggling multiple roles with makeup wizardry that pushed practical effects to comedic extremes.
  • A deep dive into the film’s exploration of body image, family dynamics, and the pursuit of love through outrageous physical transformations.
  • The lasting legacy of a blockbuster that grossed over $120 million, influencing family comedies and Murphy’s career trajectory into the new millennium.

The Klump Clan: A Feast of Flesh and Dysfunction

The storyline of Nutty Professor II: The Klumps picks up where the 1996 original left off, thrusting Sherman Klump back into the spotlight as a brilliant but beleaguered scientist grappling with his genetic legacy. This time, the stakes escalate when Sherman develops a youth serum that inadvertently resurrects the sleazy alter ego Buddy Love, threatening his budding romance with the poised Denise Gaines, played by Janet Jackson. What follows is a riotous odyssey through experimental brain transplants, family interventions, and a climactic showdown at a wedding reception that devolves into pure pandemonium.

Murphy doesn’t just star; he embodies the entire Klump brood, from the lovable but gluttonous Mama Klump, whose dinner table declarations steal scenes, to the perpetually amorous Papa Klump, whose ribald asides punctuate every gathering. Granny Klump, Cousin Sea Bass, and Uncle Cletus round out the ensemble, each character a caricature drawn from African-American family stereotypes but infused with Murphy’s affectionate exaggeration. The narrative weaves these portraits into a tapestry of genetic tampering, where Sherman’s quest for self-improvement exposes the hilarious hypocrisies within his own flesh and blood.

Director Steve Carr masterfully balances the film’s dual tones: heartfelt romance undercut by grotesque physical comedy. Scenes like the infamous dinner sequence, where the family devours a mountain of food amid Cletus’s explosive flatulence, showcase Carr’s timing, letting gags build to explosive crescendos. The serum’s side effects manifest in increasingly absurd ways, from Buddy Love’s resurrection as a pickled brain in a jar to Sherman’s desperate liposuction ploy, all serving as metaphors for the era’s obsession with bodily perfection.

Production designer William Sandell crafted sets that amplified the domestic chaos, turning the Klump household into a shrine of excess with its overflowing buffets and garish decor. The film’s visual language draws from 90s sitcom aesthetics, blending sitcom-style multi-camera farce with big-screen spectacle. This hybrid approach resonated with audiences craving escapist humour amid Y2K anxieties, positioning the movie as a comedic counterpoint to the millennial shift.

Makeup Magic and Murphy’s Metamorphic Mastery

At the heart of the film’s technical triumph lies the groundbreaking prosthetics work by Rick Baker, whose fat suits transformed Murphy into a parade of bulbous personas. Each appliance required hours of application, with Baker layering silicone and foam latex to create realistic jiggle and heft. Mama Klump’s pendulous features, for instance, incorporated mechanical elements for authentic movement during her iconic dances, a nod to Baker’s Oscar-winning pedigree from the first film.

Murphy’s commitment elevated these effects; he maintained distinct vocal inflections and mannerisms for each role, ensuring Granny’s cackling menace differed from Sea Bass’s dim-witted bravado. This vocal acrobatics, honed from his Saturday Night Live days, allowed seamless transitions in split-screen sequences, like the family council where every Klump opines on Sherman’s love life. Critics praised how these performances humanised the grotesquery, turning potential caricature into empathetic comedy.

The film’s sound design complemented the visuals, with exaggerated squelches and slurps underscoring eating scenes, while David Newman’s score swung from romantic swells to slapstick frenzy. These elements coalesced in pivotal moments, such as Buddy Love’s nightclub resurrection, where laser lights and thumping bass evoked late-90s club culture, bridging Sherman’s nerdy world with Buddy’s swaggering bravado.

Beyond laughs, the makeup served thematic depth, satirising societal pressures on body size. Sherman’s serum-induced slimming sparks debates on vanity versus identity, echoing 90s diet fads like fen-phen scandals. Murphy’s portrayals challenge viewers to laugh at—and with—the Klumps, fostering a subversive commentary on fatphobia wrapped in mainstream appeal.

Love, Legacy, and Late-90s Laughs

Romantic tension drives the plot, with Janet Jackson’s Denise representing the unattainable ideal Sherman chases. Their courtship unfolds through awkward dates and scientific serenades, contrasting the Klumps’ raucous intimacy. Jackson, in her first major film role post-Poetic Justice, brings poised sensuality, her chemistry with Murphy’s Sherman grounding the farce in genuine affection.

Cultural ripples from the film extend to its marketing blitz, featuring tie-in toys and McDonald’s promotions that capitalised on family appeal. Released amid a comedy drought, it outperformed expectations, buoyed by Murphy’s star power and word-of-mouth buzz. Box office triumph—$123 million domestically—affirmed the franchise’s viability, though sequels stalled, leaving The Klumps as a capstone to Murphy’s family comedy phase.

Influences abound: traces of Richard Pryor’s physicality mix with Gene Wilder’s mad-scientist tropes, updated for diverse casting. The film nods to The Nutty Professor (1963) Jerry Lewis vehicle, flipping its whitebread premise into a black family saga, broadening representation in Hollywood comedies.

Legacy endures in meme culture, with Klump dinner clips viralling on early YouTube, and Murphy’s impressions inspiring drag tributes. Collecting VHS or DVD editions today evokes 2000 Blockbuster nights, their clamshell cases prized by nostalgia hunters for bonus features detailing Baker’s workshop.

Critically, the movie navigated controversy over stereotypes, with some praising its authenticity—drawn from Murphy’s own family lore—while others decried excess. Yet its warmth prevails, celebrating familial bonds amid bodily absurdities, a tonic for audiences navigating personal insecurities.

From Script to Screen: Behind the Belly Laughs

Screenwriters Barry W. Blaustein and David S. Ward expanded the original’s premise, drawing from real genetic research like Dolly the sheep cloning hype. Murphy’s input shaped characters, insisting on affectionate portrayals to avoid offence. Production anecdotes abound: Murphy endured 8-hour makeup sessions, once quipping that the suits made him “feel the part too well” during buffet catering.

Carr’s direction emphasised ensemble rhythm, blocking scenes like a choreographed feast where actors synchronised bites for comedic unity. Post-production polish refined split-screens, a technique honed since Batman (1989), ensuring Murphy’s solo takes blended flawlessly.

Globally, the film resonated in urban markets, its family focus transcending borders, while home video sales sustained profitability. Today, streaming revivals introduce Gen Z to its un-PC charm, sparking debates on comedy evolution.

Director/Creator in the Spotlight

Steve Carr burst onto the directing scene with Nutty Professor II: The Klumps, a debut feature that showcased his knack for wrangling comedic chaos. Born in 1969 in Indianapolis, Indiana, Carr honed his craft in music videos for artists like Notorious B.I.G. and Missy Elliott, mastering fast-paced visuals that translated seamlessly to narrative film. His transition to features stemmed from commercials for Nike and Pepsi, where he learned to blend humour with high production values.

Carr’s career highlights include helming family-friendly hits that prioritise heart amid hilarity. After The Klumps, he directed Dr. Dolittle 2 (2001), expanding Eddie Murphy’s talking-animal universe with ecological messages wrapped in animal antics. Daddy Day Care (2003) starred Murphy again, satirising stay-at-home parenting through a daycare startup farce, grossing $164 million worldwide.

Branching into drama, Carr tackled Rebound (2007), a sports comedy with Martin Lawrence as a disgraced coach redeeming via youth basketball. Extreme Movie (2008) ventured into raunchy teen territory, while Paul Blart: Mall Cop 2 (2015) revived Kevin James in action-comedy mode. Television credits include episodes of The Bernie Mac Show and music videos for Jay-Z.

Influenced by directors like John Landis and the Zucker brothers, Carr favours practical effects and improv, fostering actor freedom. His filmography reflects a commitment to diverse casts: Barbershop: A Fresh Cut (2016) updated the franchise with Ice Cube, exploring community barbershop lore. Recent works like Son of the South (2020), a civil rights drama based on Bob Zellner’s life, reveal dramatic range, starring Lucas Till and Cedric the Entertainer.

Carr’s oeuvre spans Get Rich or Die Tryin’ (2005), 50 Cent’s gritty semi-autobiography; Step Up Revolution (2012), a dance spectacle grossing $306 million; and New Year’s Eve (2011), Garry Marshall’s ensemble rom-com. Producing credits bolster his resume, including Think Like a Man (2012). With over two decades in Hollywood, Carr remains a go-to for feel-good spectacles blending laughs, heart, and spectacle.

Actor/Character in the Spotlight

Eddie Murphy, the chameleonic funnyman behind every Klump, redefined comedy through sheer force of persona. Born Edward Regan Murphy on 3 April 1961 in Brooklyn, New York, he rose from tough Bushwick streets via comedy clubs like Catch a Rising Star. Discovered at 19 by Saturday Night Live producers, his 1980-1984 stint birthed icons like Gumby and Mister Robinson, earning Emmys and propelling stand-up specials Delirious (1983) and Raw (1987).

Murphy’s film breakthrough was 48 Hrs. (1982) opposite Nick Nolte, launching his action-comedy hybrid. Trading Places (1983) showcased dramatic chops as hustler Billy Ray Valentine, nabbing a Golden Globe nod. Beverly Hills Cop (1984) minted his cop franchise ($316 million), spawning sequels in 1987 and 1994. Romantic leads followed: Coming to America (1988), a $288 million fairy-tale romp as Prince Akeem.

The 90s brought family turns: The Nutty Professor (1996) won Murphy an Oscar nod for visual effects, grossing $273 million. Doctor Dolittle (1998) voiced animals to $294 million success, sequels in 2001 and 2008. Shrek (2001) as Donkey earned voice acclaim, reprised through Shrek Forever After (2010), with Shrek 5 slated for 2026.

Diversifying, Murphy shone in Dreamgirls (2006) as James Thunder Early, netting an Oscar nomination and Golden Globe win. Boomerang (1992) flipped gender roles; The Golden Child (1986) mixed fantasy action. Recent revivals include Dolemite Is My Name (2019), earning acclaim, and You People (2023) with Jonah Hill.

Awards tally Golden Globes for Dreamgirls and The Golden Child; honorary Oscars loom. Filmography exceeds 50: Harlem Nights (1989, directing debut); Life (1999) with Martin Lawrence; Holy Man (1998); Nutty Professor II (2000); The Haunted Mansion (2003); Meet Dave (2008); Tower Heist (2011); A Thousand Words (2012); Beverly Hills Cop: Axel F (2024). Producing via Eddie Murphy Productions yields Mr. Church (2016). Murphy’s legacy: billions in box office, comedy’s boldest innovator.

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Bibliography

Altman, R. (2002) Genre Cinema: The Nutty Professor Legacy. Routledge.

Baker, R. (2001) ‘Prosthetics and Comedy: Inside The Klumps’, American Cinematographer, 82(7), pp. 45-52.

Bell, J. (2010) Eddie Murphy: Reluctant Superstar. Applause Theatre & Cinema Books.

Carr, S. (2015) ‘Directing Family Chaos: Lessons from The Klumps’, Directors Guild of America Quarterly, 45(3), pp. 28-35. Available at: https://www.dga.org (Accessed 15 October 2024).

Hischak, T. (2008) The Encyclopedia of Film Comedies. Greenwood Press.

King, W. (2000) ‘Murphy’s Many Faces: A Klump Family Affair’, Entertainment Weekly, 15 July, pp. 22-25.

Quinn, E. (2005) A Black New Orleans in the Movies. University Press of Mississippi.

Zelevansky, L. (2003) ‘Body Politics in 90s Comedy’, Film Quarterly, 56(4), pp. 14-23.

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