The Kung Fu Kid

Back in 1984, moviegoers were introduced to a young man named Daniel Larusso, a hapless teenager transplanted all the way across the country. The challenges of assimilating to a new neighborhood in a new state were further exacerbated by torment inflicted on him by a group of skilled karate thugs trained by a merciless Vietnam Veteran. Saved one day by the mysterious Mr. Miyagi, Daniel subsequently goes on a two month long training session so he may challenge his bullies in the All Valley Karate tournament. Did I mention that the cause of this torment was brought on by Daniel’s newfound friendship with a pretty California girl, and the leader of those thugs was her ex boyfriend? No? Well, it’s sort of important, because it’s what gets the movie going.

Initially viewed as a “teenage Rocky,” Karate Kid was a story framed by themes of displacement, in Daniel’s relocation to a new home, and self-discovery in his interactions with Miyagi. Daniel was the everyman that embodied many youths, forced to struggle against bullies who were bigger, stronger, and tougher than he was. Miyagi was a surrogate father who taught him self discipline and respect. Rival sensei John Kreese was a semi-faceless monster caught up in his own ego and viciousness. The quintessential American underdog tale, and it caught on like wildfire, spawning three sequels, and sending Larusso all the way to Japan.

Given the interest Hollywood has devoted lately to remaking (and, some may argue, destroying) classics from yesteryear, I was skeptical about the remake of “The Karate Kid,” as it is still regarded by many to be a sacred relic of our collective past. If remaking the film wasn’t bad enough, changing its location from California to China, the mentor from Mr. Miyagi to Jackie Chan’s Mr. Han and the style from karate to kung fu, seemed like the largest travesty of all. “It’s Kung Fu, why not call it ‘The Kung Fu Kid?’” were the cries of many of my friends, who vowed to never see the film based on that alone.

Rather than join the outcry, I decided to wait until the film had been actually released before I rushed to any judgements. And I am glad I did.

Much like the original, Karate Kid 2010 centers around the story of a boy uprooted from a familiar landscape and forced to relocate far away. However, unlike the cross country trek in the first, this time young Dre Parker is taken all the way across the Pacific to China. Alone in a new country, with no friends and an inability to communicate, Dre runs afoul of a group of peers led by the vicious Cheng (expertly played by Zhenwei Wang), an expert in Kung Fu. Dre refuses to back down, and is pounded by the boy. When a prank goes awry, Dre is chased back to his apartment complex, where he is further assaulted until saved by the antisocial handyman, Mr. Han, himself a kung fu expert. Though reluctant to aid the boy, Mr. Han accompanies him to Cheng’s martial arts school, where they are strong-armed into competing in the Open Kung Fu Tournament. Mr. Han trains Dre to defend himself, taking him all across China while dispensing wisdom and more than a few challenging training scenarios. And did I mention that all this started because Dre was talking to a girl?

After I watched Karate Kid 2010, I went back and watched the original, and was struck by how similar they were. I read somewhere that the new film sticks to the story almost scene for scene, and for the most part it does: every major event that happens in the first film is recreated in the second, but not so much that it feels like a retread. Additionally, some of the scenes in the first film are expanded upon: Mr. Han takes center stage in a scene so powerful, you forget you’re watching Jackie Chan; the training sequences are extended out over several exotic locations; and we are given more time to witness the development of the bond between Dre and Han.

The setting of the story, filmed on location in China, is lushly depicted. Scenes filmed on the Great Wall, in the back alleys of Beijing, at Buddhist temples and finally at the Tournament itself with flashing lights and elaborate display screens, further serve to show a world far different from the one Larusso lived in, and further illustrate exactly how hard it has been for Dre to acclimate from his old life: he’s not just a stranger in a new neighborhood, he is a stranger in an alien land, far removed from what he is used to dealing with. In fact, Karate Kid 2010 manages to do in one sitting what it took the original franchise 2 films to do: it uproots the main character from an “idyllic” American world and sends him to a setting where he truly must interact, and indeed survive, entirely on his own. It’s one thing to move cross country, it’s another to move across the globe.

The film, while visually stunning, might not have worked, if not for the abilities of the more than capable leading actors. Jaden Smith shows that he more than just looks like his famous father, he can act. Whether he is joking around, showing off his “moves” or struggling against opponents both real and imagined, he tackles each scene with competence, flair and charisma. And in the process, he makes Dre Parker a protagonist infinitely more worldly, urbane, and likable than Daniel Larusso ever was. As classic a character as Daniel-san was, he was also very annoying. Dre, by contrast, is completely the product of a global world.

Smith’s talent is further showcased by his interactions with Jackie Chan. Now, any comparisons between Chan and Pat Morita would be completely unfair. Morita and Chan are different actors, coming from different worlds. Morita was still under-known at the time; Karate Kid made him a household name. By contrast, Jackie Chan is already world famous. In the case of both actors, their roles as mentors presented challenges: Morita was not the original choice for the role, he had to prove himself. Likewise, Chan has to fight against the general perception of himself as a comedic actor. Both played out of character, and had to tackle serious dramatic roles. And both were more than up to the task: they brought to life compelling characters that added to the appeal of the movies.

Which brings us back to the name: “The Karate Kid” is a horrible misnomer, but one they are more than willing to play to. Dre’s martial arts skills are obviously not karate. In fact, at one point in the film, when he visits the Fighting Dragons Academy, he remarks “It’s kung fu, Mom, not karate.” Given the interest in Chinese martial arts these days (thanks, in part, to Jackie Chan), it’s no surprise that they would ditch karate for something and more “trendy.” So then why still call this film “The Karate Kid,” when there is no actual karate in it?

Well, it IS a remake. An expansive, stimulating, vibrant remake, but a remake nonetheless. And be honest, would anyone debate this movie were it called “The Kung Fu Kid?” Probably not. But anyone choosing to pass this film up simply because of the name is doing the film, and themselves, a disservice. Look past the name, you will find a gem of a film, an underdog story in the same vein as Rocky, Star Wars and even Harry Potter.

And in case anyone wants to know...”wax-on, wax-off”, and the “Crane Technique” are still there, in spirit less than form. Just with more attitude this time.

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The Karate Kid (2010)...

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