The Human Tornado

A must for any film buff of any era. How can you ignore Ernie Hudson's motion picture debut. Rudy Ray Moore, did so much, with so little. Some studio needs to put him to work again.

The film is great, Jimmy Lynch is amazing. Lady Reed is wonderful. Rudy is at his best. Bring in Howard Jackson was a great move to see real, authentic martial arts.

Far ahead of its time.

Get ready to be back at seventies, those crazy days where the Blaxploitation genre explodes, in his lastest breast, The Human Tornado was a sequel of the successful Dolemite which he returns more furious than ever, track down the same steps of his predecessor, in absent of a reliable plot the movie survives in Rudy Rae Moore's humoresque style, for some taste would be a off-color, this turn he told dirty jokes, introducing many black bands and singers, also he enforces an unerring approach of sexploitation on countless sex scenes when he wildly gonna crazy made justice in your nickname Human Tornado having sexy with nympho Mrs. Cavaletti when the roof fell off in such fury, a real mind-blowing sequence, also provides a chamber of fear where two naked black girls were tortured in all worst ways by a deranged mind of the odd Mr. Cavaletti, to close the movie in high style Rudy supplies a smashing fighting, breaking all around, despite a mess this movie is really appealing, made by an autodidact black guy who follow his survival instinct , not seriously of course, however far away to be bad, in time the fine Ernie Hudson on early days!!!

Resume:

First watch: 2020 / How many: 1 / Source: DVD / Rating: 6.25

I've seen Dolemite and Disco Godfather as well as Human Tornado...I'm something of a Rudy fan. I must say, however, that Human Tornado is the most competant Rudy Ray Moore movie I have seen (admittedly I have not seen Petey Wheatstraw or Monkey Hustle). The direction, camera work, and acting, while still substandard is no where near as atrocious as in Dolemite or Godfather. The story is simple and routine, but the dialogue and rapping is high-larious. My favorite scene for all out ridiculousness was when Rudy and "Miss Wonderful" get naked and....excercise in bed. Literally. I must say, however, if you're looking for the highlarious incompetency of Godfather, it won't be found here.

Picked this up with Dolemite on Bluray and gotta say, both movies were very entertaining. Yeah, the acting is wooden, the fight scenes are ridiculous, and there's almost no plot, but it's all part of the fun. It still has the kung-fu, scantily clad girls and of course, plenty of Dolemite rap.

However, the movie is severely lacking a lot of the things that made the first movie what it is. I keep seeing things stating that Dolemite is back with his army of kung-fu girls, but never once do we ever get to see any of that. Most of the girls are just around for looking at, save for a couple like Java. Dolemite himself seems to have lost his many wonderful outfits and even more of his quirky one-liners. Literally only one "rat soup eatin' MF-er" in the entire movie.

The plot is really slow to move in this one too. They end up with two separate plots that actually come together about half way through the movie and neither of which are really sure what they want to do. You have the ultra racsist Alabama sheriff who caught Dolemite in bed with his wife and the second plot of Queen Bee and her girls being taken by another club owner, mob boss type character. Most of the action doesn't come until nearly two thirds of the way through the movie, which is kind of a bummer because you come to expect a lot of over the top action like the first one.

Speaking of action, more badly choreographed fights, but this time they (mostly) look like they're actually hitting someone with punches and kicks looking like they actually have some power behind them. The problem is that some of the fights are sped up and it makes it hard to see anything. Not sure why they decided to do that, but they could have done without it. The only car chase scene is also sped up and doesn't really do anything except drive down a dirt road, a mud puddle and eventually a cave... which just so happens to be the entrance to the Adam West Batcave.

All of the acting is just as you would expect. If they aren't talking like they're reading their lines off the back of their hands, they're acting so over dramatic that it somehow balances it all out. The sheriff alone is just a hoot to watch, it makes you wonder how someone like him even got to be a sheriff... maybe that's how they do things in Alabama?

So, not nearly as good as the first film, but to be able to see both films only days apart was a great experience and I highly recommend you do the same if you can!

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.

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