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If there ever was a defender of individual liberty and a fighter for market competition, it would be Rudy Ray Moore, creator and star of the Dolemite movies. In the second installment of his action-packed adventure series, Dolemite is accurately described by the movie’s title, The Human Tornado (1976). A character of mythical proportions and flanked by an all-star cast including Ernie Hudson (Ghostbusters), Dolemite goes on a free-for-all fighting extravaganza to take down the Man and manages to get some ladies while he’s at it.
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While perhaps not in the league of a Super Fly or Shaft, The Human Tornado has all the familiar characteristics of the era’s Blaxploitation cinema: a funky soundtrack, kung fu fighting, Technicolor outfits, gratuitous nudity and a laughable plot. Speaking of which, the plot begins and ends in a house on a hill. According to the movie, an “Okie” sheriff stumbles upon his wife in bed with the Tornado, and all hell breaks loose as he tries to track Dolemite down and exact his revenge.
Dolemite performs an entertaining comedy routine at a night club owned by a long-time friend, the Queen Bee. Complications arise, though, when a competing mob-connected night club owner (Catavelli) tries to shut her down by kidnapping her star dancers. Needless to say, a great deal of action ensues as these worlds collide and multiple karate experts have it out with one another.
An interesting an unusual spin is the inclusion of an undercurrent of witchcraft. The supernatural has rarely been portrayed as well since Blacula. It would be fascinating to uncover how the filmmakers came to such an understanding of the occult and what research was put into the strange and frightening symbols displayed within the witch’s evil lair.
Truly, though, the plot in the film is a secondary factor, and viewers should appreciate it on another level. Plenty of comedic moments are blended with knock-out fighting and a raw style of acting that lacks the overproduced and polished attempts seen in many of today’s major motion pictures.
There are also occasional moments of startling special effects, including a dramatic replay of Dolemite making a daring jump from his would-be oppressors. It is possible, however, that viewers desensitized by the special effects of popcorn flicks like Independence Day and Titanic will be disappointed. Nonetheless, The Human Tornado should still provide a refreshing change from standard box office fare.
It must be noted at this point how disappointed the reviewers are that Rudy Ray Moore’s acting and imagination have not been put to greater use. There was a long, unexplainable absence from the silver screen, for instance, between 1982’s Penitentiary II and 1997’s Fakin’ da Funk. His numerous talents include the writing and producing of the documentary The Legend of Dolemite (1994) and, showing his willingness to accept a wide range of roles, he acted as set decorator on the original Dolemite picture. The good news, however, is that he recently released an album of his greatest hits. Fans can also seek out a book of his exploits entitled Dolemite: The Story of Rudy Ray Moore.
All in all, the acting in The Human Tornado is horrible, the plot is superficial, the directing is choppy and the production quality is poor at best. Nonetheless, this is definitely a movie everyone needs to see.
