One of several Rudy Ray Moore films, THE HUMAN TORNADO is part of the on-going adventures of Dolemite: a signifying' super-hero. Dolemite comes to the rescue of Queen Bee, whose primarily black Nightclub is threatened by White Mafia types.Written by
Some shots of the car chase reveal a black patch on the right side of the camera lens. See more »
He think he's bad and ain't got no class! I'm gon' rock this shotgun up his muthafuckin' ass!
See more »
Two different video tape versions exist in box with same cover art, from same company. One version edits out the gay driver sequence and moves the opening credits sequence to where it would be. See more »
Has the strange ability to be both dull and exciting
Rudy Ray Moore reprises his comic character creation, Dolemite, the hyperbolic, Mohammed Ali-jive-talking, rhythmic discoursing, man of the people. The sequel to 1975's Dolemite, the film offers nothing new to the series, or to blaxploitation cinema, but simply adheres to the generic signifiers, such as female nudity, car chases, and the ubiquitous kung-fu cross-over. But significantly for the stylistic variations of the sub-genre, the subject of racism is the most evident theme - despite the fact that blaxploitation is readily accused of reverse racism (a term I have never understood, as this would suggest that racism is a purely white condition - it's all xenophobia).
Dolemite is caught in bed with the local red-neck sheriff Beaty (J. B. Baron)'s wife, who is then shot dead by his deputy. Escaping this situation, Dolemite flees to California, and the sheriff's crew follow, pinning the crime upon Dolemite. Lady Reed also reprises her role as Queen Bee, and she along with "her girls" have their club shut down by the mob, and it is up to Dolemite to settle the score.
Undoubtedly taking into account the failings of Dolemite, the sequel increases much of what makes exploitation cinema exciting. The violence is more nuanced, there is a lot more naked flesh on display, but more significantly, the comedy is far more indulgently silly, over the top ridiculousness. It's those rhythmic one-liners that Moore produces that increase the enjoyability of the film. And of course (as previously stated), no blaxploitation film would be complete without that other ethnic sub-genre, kung-fu, and here we are enthralled by the ferocious work of the Central American Nunchuck Champion, plus an early role for future Ghostbuster, Ernie Hudson. Marginally better than its predecessor, it has a strange ability to be both dull and exciting.
2 of 3 people found this review helpful.
Was this review helpful to you?
| Report this