Eddie Murphy’s Talents

It is impossible to describe the anger I felt reading Kenneth Turan’s review of “Boomerang” (“ ‘Boomerang’: Eddie Murphy’s Romantic Fling,” July 1). I find it difficult to believe that, in 1992, a seemingly intelligent reviewer could fail so miserably to objectively review a movie based on its merits or lack of, rather than the color of its participants and the stereotypes he expected to see.

Turan was so busy reviewing the Eddie Murphy that he thought he should be seeing--the “jive” “48 HRS.” Murphy, the “funny man” “Saturday Night Live” Murphy--that he missed a fine performance by an Eddie Murphy who proves that he can play much more than Turan thinks he can. I might add that no dim view is taken when the Robin Williamses, the Steve Martins and the Chevy Chases of the world decide to expand their horizons.

I also find it arrogant and brainless of Turan to think it is important enough and necessary to point out that there is an absence of whites in this movie, as if to suggest that there can be no positive black experience without whites. I wonder if Turan has ever pointed out the absence of blacks in white movies. And, please, is sassy the only adjective he can find to express what he thinks Robin Givens’ character should be?

The biggest crime of all, however, is that Turan doesn’t understand that the life experiences of “Boyz N the Hood” and “New Jack City” are not the only ones that African-Americans enjoy. He completely misses a funny, warm and old-fashioned “battle of the sexes” that shows African-Americans in a milieu rarely seen on the big screen that is just as real to us as any other.

EILEEN MACK KNIGHT

Studio City