#michaelschultz

The 1980s were a magic time for movies.  It seems like most any premise you could come up with would fly if you were able to finance it, and due to this energy, we were given a ton of obscure films that have gained iconic and cult status.  Fans of most any genre can find a bit of weirdo gold from the 1980s, and fans of martial arts and/or exploitation films have a sure shot favorite that has gained popularity as the years go by : Berry Gordy’s The Last Dragon. 

Leroy Green (Taimak), known by the residents of New York City as Bruce Leroy, is furiously dedicated to his martial arts training in hopes of reaching levels of skill similar to his idol Bruce Lee.  After passing his Master’s (Thomas Ikeda) final test, Leroy is sent out into the world to complete his training and fulfill his destiny, but due to his hesitant nature, he is challenged to seek a new master in the form of Sum Dum Goy, to whom he is supposed to give an ancient relic that once belonged to Bruce Lee in hopes of achieving the mystical and all powerful skill known as The Glow.  Meanwhile, Sho’nuff (Julis J Carry III), The Shogun of Harlem, sees Leroy as an obstacle to his supremacy of New York City, and with his gang in tow, he feverishly seeks Leroy in hopes of defeating him in combat and becoming the true master.  While this struggle takes place, arcade mogul Eddie Arkadian (Chris Murney) is hoping to branch out into the entertainment industry, and in an attempt to do so, he decides to strong arm local celebrity, DJ and host of the hit show 7th Heaven, the VJ Laura Charles (Vanity).  Leroy defends her from her attackers, making him the apple of Laura’s eye and the source of Arkadian’s ire.  With multiple people seeking vengeance as he seeks spiritual and physical enlightenment, Leroy is forced to face the biggest challenge of his life.

On paper, this movie should come off as a complete comedic farce, and a satire of both martial arts and exploitation films.  For some reason, be it the actors’ committal to their roles, or just those intangibles you cannot account for, this film satisfies as both a martial arts exploitation film and a slice of 1980s ridiculousness, and the dated nature of the film does little to nothing to the enjoyment factor.  Bruce Leroy’s journey of personal enlightenment, Sho’nuff’s quest for dominance and Eddie Arkadian’s delusions of grandeur provide a triangle of motivations that reveal a rich tapestry of conflict as their paths continue to cross, sometimes due to pure happenstance.  Juxtaposing Bruce Leroy’s respect for his discipline against Sho’nuff’s cartoonish portrayal allows the movie to be both respectable to martial arts on the whole, while mocking those who do not take it seriously.

Motown’s involvement in the film gives the entire proceeding the energy of a musical film, or a long-form music video with a narrative between the musical pauses.  This also allows them to do what they do best when it comes to the love story aspects, utilizing the techniques they honed in on in films like Mahogany to balance out the martial arts aspects.  Placing the film in 1980s New York was not only a good choice for the time, but one that has stayed aesthetically pleasing as the years go by due to the mark that New York left on world culture that lasts to this day.

The costuming in this film is amazing, be it the tons of 1980s fashion and hairstyling, Sho’nuff’s crazy Shogun-inspired getups, or Bruce Leroy’s versions of Bruce Lee’s iconic outfits.  The pre-Hip-Hop era (at least commercially) this film lands in allows R&B to rule, with many of the day’s bigger artist given soundtrack and music video placement throughout the movie, as well as a few jokes at the expense of musicians on the Motown roster.  The character dynamics and relationships are palatable and numerous, be it Bruce and his brother, he and Laura Charles, he and his students, Eddie Arkadian and Angela’s unhealthy relationship, or even the way Eddie uses Rock to get what he wants.  It is clear that the fight choreography takes itself seriously enough to not mock martial arts on the whole, but a handful of the performers bring very dynamic and high energy moves to the table.  The balance of score and soundtrack works quite well, leaving a truly lasting impression.

Taimak is the anchor of honor and dignity, grounding the film and giving the audience a character to relate to and cheer for.  Vanity exudes a sexiness and desirable quality that, decades later, still makes her performance iconic.  Julies J. Carry III’s dedication to making Sho’nuff over the top blasts off the screen, making him an instantly iconic cult character.  Chris Murney also brings an absolute dedication to his rule as a two-bit boss, with the perfect set of flunkies cast in Mike Starr and Faith Prince.  Leo O’Brien and his youthful energy bring a modern-day connection and aesthetic to the film.  Glen Eaton shows comedic and athletic chops, as well as tons of personality, in his few appearances.  Jim Moody and Thomas Ikeda provide fatherly guidance from two different worlds to Bruce Leroy’s character.  The tons of cameos in this film from people who would go on to star in TV shows andfilms is crazy, including Ernie Reyes Jr., Keshia Knight Pulliam, Chazz Palminteri, William H. Macy and Carl Anthony Payne II.