Inclusion and representation are important aspects when creating a film, but when that movie is intended for a specific audience it’s even more imperative to mirror the core viewership. It wasn’t until the early ’70s SWEET SWEETBACK’S BAADASSSSS SONG (1971), SHAFT (1971), SUPERFLY (1972), and COFFY (1973) that the African American film audiences could see themselves on the big screen in powerful characters.
There was a turning point in the early ’80s where everybody was obsessed with karate, kung-fu, and martial arts in general. The biggest market in the U.S. for martial arts films was the inner city. It was mostly people of color supporting these films. So, when the whitewashed, PG-rated KARATE KID came out in 1984, it was almost a slap in the face to those theatergoers that made films like ENTER THE DRAGON (1973) popular in America.
An answer to properly represent the true fans of martial arts films was created just a year later by executive film producer, and Motown Records super producer, Barry Gordy. In 1985, THE LAST DRAGON brought the kung-fu craze to the inner city where it belonged (and even featured scenes from ENTER THE DRAGON). It had everything from a top-notch R&B pop soundtrack, to amazing fight scenes, and best of all dialogue that felt real enough to be relevant, but cartoonish to cement the film in cult history and continued to be quoted to this day.
THE LAST DRAGON (or sometimes known as Berry Gordy’s THE LAST DRAGON) takes place in New York City and revolves around Leroy Green (Taimak) a.k.a. Bruce Leroy. Leroy’s goal is to find the “master” and obtain the final level of martial arts mastery simply known as “the glow.” While on his path to find “the glow,” Leroy becomes entangled with the beautiful pop star/music video host Laura Charles (Vanity).
Mob leader Eddie Arkadian (Christopher Murney) hunts down Laura as a rival kung-fu master Sho’nuff (Julius J. Carry III), who is corrupted by power, hunts down Leroy—Leroy being the only one standing in the way of Sho’nuff running the streets. The battle between good and evil rivals that of STAR WARS (1977), but with the type of one dimensional, tropey characters you’d see in low budget blaxploitation film.
If THE LAST DRAGON were made in our current socio-political climate, it would most likely be cancelled due to cultural insensitivity. All the characters are cartoonish and a bit corny. Might even be viewed as Troma-light. And Leroy would be labeled as committing cultural appropriation.
I believe that the message created by THE LAST DRAGON in 1985 was simply to be yourself. In a crazy world, that is over inundated with crime, depravity, and selfishness, Leroy was able to follow the path of what is right, and find an inner peace through adopting aspects of Asian culture. I believe that if it’s not done in a malicious way, cultural sharing can be a positive activity for all those involved.
It’s hard to believe that in 2020 there are any cinema fans that have not seen THE LAST DRAGON. This film is a modern masterpiece. This is a cult hit that is fun for every generation. It seems like a gritty tween action comedy would be impossible to make, but it was made, and we are the lucky ones who get to enjoy it. Happy 35th anniversary to THE LAST DRAGON. “Now, when I say, ‘Who’s da mastah?’ you say, ‘Sho’nuff!’”
Tags: 1985, 35th Anniversary, Berry Gordy, El DeBarge, Enter the Dragon, Ernie Reyes Jr., Faith Prince, Julius Carry, Julius J. Carry III, Karate, Keshia Knight Pulliam, kung fu, Louis Venosta, martial arts, Michael Schultz, Mike Starr, Motown Records, Sho'nuff, Shogun Of Harlem, Taimak, The Last Dragon, vanity, William H. Macy
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