The Last Dragon: A 40th Anniversary Reappraisal of a Cult Classic
For reasons I couldn’t articulate then, or even for many years after, Michael Schultz’s 1985 kung fu fantasy, The Last Dragon, burrowed its way into my young psyche. Memories of watching it, a potent cocktail of fascination and a vague sense of forbidden pleasure, lingered. I loved it, I felt connected to it, but the why remained elusive. Now, as the film celebrates its 40th anniversary, I revisited this childhood touchstone, and what I found surpassed even my fondest recollections. It wasn’t just good; it was brilliant, a joyous time capsule brimming with sincerity and a uniquely 80s charm.
The Last Dragon tells the story of Leroy Green (played by the mononymous Taimak), a dedicated martial arts student in New York City seeking the ultimate level of enlightenment. This quest takes him through the vibrant, chaotic streets of the city as he searches for a master who can unlock his potential. However, Leroy’s path is blocked by Sho-nuff (Julius Carry), the hilariously self-proclaimed "Shogun of Harlem," a flamboyant villain desperate to prove his martial arts superiority by defeating Leroy in combat.
One of my strongest early memories of the film was a feeling of danger, a sense that watching it was somehow illicit. Perhaps it was the blend of martial arts mythology with the gritty urban setting that triggered this unease, or maybe it was simply the perspective of an eight-year-old suburban kid encountering cultures far removed from his own experience. It’s also possible I only caught fragments of the film, never truly grasping its beginning or end. Whatever the reason, The Last Dragon felt edgy and slightly off-limits.
Returning to it after so many years, I was struck by how completely unfounded that initial perception was. The "evil" or "dangerous" vibes I associated with it as a child simply don’t exist. The Last Dragon, I realized, is an overwhelmingly positive and innocent film, perhaps too sincere for my younger self to fully appreciate. It’s a vibrant celebration of a specific time and place, presented with an endearingly bizarre charm that makes it stand apart from other films of the era. I lacked, quite literally, the power of the glow.
While Leroy’s quest for enlightenment and his rivalry with Sho-nuff form the central narrative thread, another, wonderfully 80s storyline weaves its way through the film. Enter Eddie Arkadian (a brilliantly cast Christopher Murney), a wealthy arcade owner with a penchant for blackmail. Eddie is determined to force Laura Charles (Vanity), a popular singer and TV host, to play the music videos of his untalented girlfriend, Angie (Faith Prince). Every time Eddie tries to intimidate or even kidnap Laura, Leroy, in a classic case of being in the wrong place at the right time, intervenes. This haphazard chivalry sparks a connection between Leroy and Laura, despite his near-complete lack of social skills due to his unwavering dedication to martial arts.
It’s through this secondary storyline that The Last Dragon‘s true originality shines. It’s not just a martial arts movie; it’s a vibrant snapshot of 1985 pop culture. Laura’s TV show is a delightful fusion of MTV and Soul Train, complete with extended music video sequences that showcase the era’s distinctive sound. The film isn’t afraid to pause the narrative to let the characters dance to the music, most notably DeBarge’s "Rhythm of the Night," which premiered in the film and remains a certified banger to this day. Laura’s world is also a dazzling showcase of 80s fashion excess: gigantic hats, oversized sunglasses, padded shoulders, cutoff jeans, and an abundance of neon. Angie, Eddie’s girlfriend, embraces the same aesthetic with equal enthusiasm, sporting a Cyndi Lauper-inspired look, including a bra fashioned from traffic lights. She steals several scenes with her comedic timing and memorable lines. The Last Dragon boldly proclaims that the sounds and sights of the 80s are universal, embracing both heroes and villains alike.
The relationship between Leroy and Laura is genuinely heartwarming, fueled by its sheer awkwardness. Laura is a famous and confident superstar, yet she’s completely smitten with the endearingly clueless Leroy. His good looks and impressive physique undoubtedly contribute to her attraction, but it’s his innocent charm that truly captivates her. Leroy, in turn, is drawn to Laura but lacks the social skills to express his feelings, creating a series of comical and endearing moments. Adding to the dynamic is Leroy’s younger brother, Richie (played by the late Leo O’Brien), who is everything Leroy isn’t: confident, charismatic, and surprisingly smooth. Richie also harbors a crush on Laura, positioning him as a charmingly persistent third wheel. The audience roots for Laura and Leroy to connect, but their interactions are often funnier and more engaging when they remain slightly out of sync.
Taimak’s performance as Leroy is crucial to the film’s success. He embodies the character with the innocence and loyalty of a cinematic puppy dog. Leroy is kind, fiercely protective, and a little naive, making him utterly lovable. He’s the antithesis of the stereotypical deadly martial artist, which makes his moments of action all the more impactful. Vanity also delivers a captivating performance as Laura, portraying her as a complex and believable character. We genuinely believe that someone as successful and worldly as Laura could be utterly disarmed by love. The addition of O’Brien’s scene-stealing performance as Richie and Carry’s over-the-top, yet brilliant, portrayal of Sho-nuff elevates The Last Dragon to another level, even if it occasionally stumbles over some dated stereotypes.
The film features plenty of action sequences, some exciting and dynamic, others a little slower and more deliberate. However, all of them lead to the film’s climactic third act, which begins with a chaotic battle royale and culminates with Leroy discovering his destiny as the Last Dragon, all while the film’s title track blasts in the background. Leroy unlocks the "glow" – a literal, visual representation of enlightenment – and finally defeats Sho-nuff. Watching this scene again, I was overwhelmed by childhood nostalgia. Schultz masterfully orchestrates every element of filmmaking – sound, music, editing, visual effects – to create an absolutely perfect cinematic moment.
It was in these final moments that everything clicked. While I had fragmented memories of other parts of the film, the ending was etched into my memory with crystal clarity. The flashbacks, the line deliveries, the droplets of water cascading off Leroy’s head – every detail was imprinted on my mind. It’s one of those rare endings that expertly resolves all the narrative threads, injecting a fresh surge of energy that leaves a lasting impression. The movie, much like Leroy himself, ultimately achieves enlightenment.
The Last Dragon doesn’t just stand the test of time; it surpasses it. Its exploration of diverse cultures and tones, presented within a fun and action-packed framework, creates a unique snapshot of the 1980s, offering unexpected joy and innocence that elevate it above many of its contemporaries. I loved the film as a child, even if I couldn’t fully grasp the reasons why. Now, I appreciate it even more, recognizing its enduring appeal from start to finish. And especially the finish.
As The Last Dragon celebrates its 40th anniversary, it’s a perfect opportunity to rediscover, or discover for the first time, this truly special film. While currently not streaming, it’s available on Blu-ray and occasionally appears on various streaming services. Seek it out. You won’t be disappointed. You might even find your own glow.
