Growing up, I only knew the bookends of Brandon Lee’s biography: birth and death. Brandon Lee was born famous as the son of martial arts legend Bruce Lee and, shockingly, died at the height of that fame while filming his breakout role in the goth superhero classic The Crow. There were obviously other highlights to his fame in the 28 years between those bookends, but I don’t remember them happening in real time. I’ve since been getting to know Lee posthumously as he randomly appears on the covers of used DVDs at local thrift stores, starring in low-rent martial arts actioners with titles like Laser Mission, Rapid Fire, and Kung Fu: The Movie. He’s not especially talented as a dramatic actor in any of those forgotten action cheapies, but he does share his father’s talents for sharp, convincing fight choreography and, not for nothing, his father’s handsomeness. Maybe that’s why Lee was paired with a more charismatic actor for his leap from Hong Kong to Hollywood productions in 1992’s Showdown in Little Tokyo. Just a couple short years before his major break in The Crow, Lee was cast as a sidekick to cartoon muscle freak Dolph Lundgren, who gets all of the best one-liners and over-the-top stunts while Lee plays straight man, cheering him on. Like Laser Mission, I had never heard of this film before I found it at the thrift store, and it helped flesh out my understanding of Lee’s brief movie star career between birth & death. Unlike Laser Mission, though, it was a memorably fun, goofy action flick regardless of its significance to Lee’s biography.
A sleazy Los Angeles buddy cop movie from the director of Commando, Showdown in Little Tokyo has great pedigree as a VHS-era action classic. It also has one of the most racist premises in that canon, which is no small feat for an era obsessed with urban and immigrant crime. Brandon Lee (a half-Chinese actor) plays a half-Japanese cop who was raised in California, disconnected from his cultural heritage. Dolph Lundgren (a Swedish actor) plays an all-American cop who was raised in Japan, submerged in that heritage, so he serves as Lee’s tour guide on all of the finer points of Japanese culture as they take down the yakuza stronghold in Little Tokyo. It’s a racist angle on mismatched multicultural partnership that’s not at all helped by the decision to avoid subtitling most of the Japanese dialogue, nor by the Orientalist notes of the soundtrack cues whenever they encounter the head of the yakuza (Cary-Hiroyuki Tagawa, of Mortal Kombat fame). And yet, even though the central white-cop-Asian-cop dynamic of Showdown in Little Tokyo is heinous in concept, it’s often adorable in practice. Lundgren & Lee have an oddly romantic rapport, even partnering up after a meet-cute fight scene and spending some quality time at a local bathhouse. In the movie’s most often-quoted scene, Lee compliments the size of Lundgren’s penis after spotting him disrobing for a soak in the hot tub, remarking “You have the biggest dick I’ve ever seen on a man,” to which Lundgren replies, “Thank you.” The two end that exchange unsure how to say “I love you” in a macho way, so they opt for “Don’t get killed,” and “You too,” instead. Since they can’t have sex with each other for 1980s reasons, they’re assigned to protect the life of Tia Carrere from the yakuza, whom Lundgren beds while Lee salivates, but it’s mostly a formality.
The homoeroticism of Showdown in Little Tokyo is apparent as soon as the opening credits, which are a dreamlike montage of biceps, swords, guns, abs, and tattoo ink shot with the erotic tenderness of a Red Shoe Diaries episode. The women of the film get little to do beyond being rescued and stripping topless – sometimes as erotic dancers, sometimes as erotic sumo wrestlers, sometimes as live sushi platters, always as objects. Otherwise, it’s a film entirely about men and the male form. Having defined the pinnacle of the genre with Commando, director Mark Lester has an eye for the shameless beefcake ultraviolence and an ear for the groany, juvenile one-liners that make for a memorable action classic. Lundgren doesn’t have Schwarzenegger’s comedic chops, but he still fires off line-deliveries of phrases like “This is illegal, and it pisses me off,” and “If I don’t have breakfast, I get grumpy. I don’t think you’ll like me grumpy” with enough deadpan bravado for those moments to land. More importantly, he looks like a cartoon superhero in the flesh, especially with the exaggerated shoulder pads of his Japanese-themed leather jacket extending his frame. Lee doesn’t come anywhere close to touching Lundgren’s action-star charisma here, but the movie also isn’t all that interested in giving him a chance to do so. He’s just there to pump up Lundgren’s ego, compliment the gargantuan size of his dick, and give credibility to the phrase “reverse racism.” Thankfully, Lester often distracts from that uneasy dynamic with enough explosions, swordfights, and beheadings to get away with the worst cross-cultural impulses of the script. He has complained about the studio removing 10 minutes of footage from the final cut without his permission, but what’s left is one of the leanest, funniest, gayest action novelties of its era (and, by default, of Lee’s entire career).
-Brandon Ledet
Swampflix 