The Karate Kid (1984)
Independent film producer Jerry Weintraub was inspired to create *The Karate Kid* after watching a human-interest story about a small boy named Billy Sasner on a local Los Angeles TV news segment. In 1978, at just nine years old, Billy became America’s youngest verifiable karate black belt. He started studying Tang Soo Do, a Korean form of karate, at the age of six after frequently being bullied by larger kids in his Canoga Park neighborhood.
Billy’s father, Paul, believed that if his son stood up to the bullies, they would eventually leave him alone. However, Billy continued to come home beaten and injured. Paul’s wife insisted that as his father, Paul’s responsibility was to teach their son how to fight. As a family, they decided to enroll Billy in martial arts classes. Despite facing challenges due to his small size, Billy gradually gained confidence in his physical abilities by learning patience and self-control. As he became less intimidated, the bullies eventually stopped bothering him.
Billy’s story reminded Weintraub of the Charles Atlas advertisements featuring a 98-pound weakling who transformed his life through bodybuilding. Weintraub reached out to meet with Billy and asked if he had fought against bullies as valiantly as he did in tournaments. Billy replied that he didn’t know, as there was no longer any reason for him to fight.
(If Sasner’s story feels overlooked today, it may be due to his legal troubles as an adult, including his current registration as a sex offender for attempted lewd and lascivious acts with a minor under 14 years old.)
Weintraub presented his concept, “The Karate Kid,” to Frank Price, the head of Columbia Pictures. Price decided to option the rights to Billy’s story. He then reached out to screenwriter and martial arts expert Robert Mark Kamen to create a script based on the straightforward premise of a young boy who is bullied, learns martial arts, and ultimately becomes a champion.
Kamen informed Price that he had previously worked on a similar story idea. It revolved around a transplanted teenager struggling to fit into his new town. The teen befriends a wise and humorous Okinawan gardener, who introduces him to a pure form of karate that transforms his life. Although Kamen had not developed this story into a script because he didn’t believe it would sell, on this particular day, it did sell, as Price purchased the rights to Kamen’s story. Price suggested that Kamen combine both ideas while keeping the protagonist a teenager. This would allow for the introduction of a love story to attract a larger audience and potentially generate more ticket sales.
Kamen’s story elements are primarily inspired by his real-life experiences studying martial arts in New York. At 17, he accompanied friends to the 1964-1965 New York World’s Fair, where they soon became targets of a gang of teenage bullies. The conflict began when Kamen commented on the swastika medallions worn by the bullies, prompting them to confront him while shouting antisemitic slurs. The situation escalated when one of the bullies grabbed a souvenir letter opener from a nearby shelf and attempted to stab Kamen, nicking him in the shoulder blade as he ran away.
Kamen, a high school track star, outran his pursuers and sought refuge in the New York State Pavilion, where he stumbled upon a karate exhibition led by the charismatic ex-Marine Ed McGrath. Captivated by McGrath’s demonstration of how to handle multiple opponents and disarm a knife-wielding attacker, Kamen felt inspired to enroll in classes at McGrath’s “American Dojo” in Jackson Heights, Queens.
McGrath taught an Okinawan style of karate known as Isshin-Ryu. He emphasized physical toughness through full-contact training, focusing less on spirituality and artistry. Kamen trained four hours a day, seven days a week. One night, after McGrath took his students out for drinks, he made a pass at the girlfriend of a burly construction worker. When a fight broke out, McGrath ordered his students to defend him. In return for their efforts, he rewarded them with black belts from the trunk of his car. Kamen was dissatisfied with this method of obtaining a black belt and felt that something was lacking in McGrath’s training. As a result, he began searching for another school.
Kamen discovered several karate instructors were even more arrogant and dangerous than McGrath. Many were ex-military personnel, like McGrath, who had learned karate while stationed in Okinawa or Japan. Their training emphasized offensive strategies aimed at defeating opponents rather than focusing on self-defense. One sensei dressed like a homeless man and waited in alleys to be targeted so he could use his skills against those who picked on him. Style wars became common, with students from one dojo challenging those from another, engaging in battles that often resulted in bloodshed and broken limbs. Shotokan master John Slocum was another sensei Kamen met who seemed to delight in teaching his students the best ways to break their opponents’ bones during matches. He believed a karate match shouldn’t end until one person was left standing.
In 1969, Kamen moved to Philadelphia to pursue graduate studies at the University of Pennsylvania. While there, he joined a dojo led by Teruyuki Okazaki, a pioneer of Shotokan karate. In this environment, Kamen began to appreciate the more profound significance of karate, which extended beyond its physical aspects.
In 1973, while visiting New York, Kamen met Toshio Tamano, who introduced him to Shorei-kan, a style of Goju-Ryu karate from Okinawa. Kamen found this style to be the most fulfilling and comprehensive. He commuted daily from Philadelphia to train under Tamano, cultivating an insatiable thirst for further knowledge.
Kamen’s quest for understanding ultimately led him to Okinawa, where he met Meitoku Yagi, Shinpo Matayoshi, and others who had trained directly under Chojun Miyagi, the founder of Goju-Ryu. He also met and trained with Tamano’s sensei, Seikichi Toguchi, the founder of Shorei-kan. Kamen’s encounters in Okinawa opened his eyes to the traditional and authentic lifestyle surrounding the art of karate. He realized that karate was often taught in America by emphasizing belts and trophies rather than the inner rewards of lasting value.
When Kamen returned to America, he and his brother left the Shorei-kan dojo to train under a pure Han Chinese immigrant named Kow Loon Ong, better known as Kayo. Kayo was short in stature and spoke little English but was wise and kind-hearted. He emphasized a purist approach to Okinawan Goju-Ryu karate called Chi-I-Do, free from American karate’s misguided influences.
In Kayo’s class, students wore T-shirts and shorts because he did not believe in requiring gis or belts. He explained that belts were introduced as a marketing strategy when karate came to America, as students felt they needed incentives for motivation. Kayo taught his students the traditional way of karate, emphasizing that balance in life is just as important as balance in the body.
Kamen’s journey toward enlightenment in karate greatly influenced his screenplay, particularly in depicting the joy of discovering a nonjudgmental, loving, and protective mentor and teacher. A central theme explores the differences between American karate instructors and their Asian counterparts. In Asia, karate is regarded as a way of life, while American dojos heavily emphasize sparring, competition, tournaments, and individual achievements. The spiritual aspects of karate serve as a foundation in Asia, whereas the focus in America is often on physical dominance. When two practitioners spar in Asia, they aim to help each other improve their self-defense techniques—such as blocks, throws, and strikes. In contrast, sparring in America typically determines who would win in a fight.
In Kamen’s early script, a spirited teenager named Daniel Weber moves with his mother from Ukiah, Washington, to Reseda, California. At first, their new life seems promising, but Daniel quickly becomes disillusioned with his surroundings after encountering a group of bullies. He notably clashes with their leader, Donald Rice, particularly after he begins dating Donald’s ex-girlfriend, Ali. Daniel endures constant physical intimidation and abuse from Donald and his gang, who are part of a ruthless karate school in town called Cobra Kai. This school operates under the motto “No Mercy” and is run by ex-Vietnam veteran John Kreese.
One day, Daniel’s landlord, an Okinawan immigrant named Mr. Miyagi, rescues him from bullies using impressive defense techniques. Grateful for the rescue, Daniel asks Miyagi to teach him karate, and Miyagi agrees to instruct him in the traditional Okinawan style.
After experiencing further bullying incidents, Miyagi visits Kreese to address the situation. However, Kreese appears indifferent but ultimately agrees to a truce, stating that Daniel will be “off-limits” until the day of a karate tournament in town, where various styles of karate will compete against each other. Unfortunately, Daniel is far from ready for the match. With Miyagi’s support, Daniel practices daily to prepare but often finds the teaching methods unconventional, tedious, and strenuous.
Kamen created the character of Daniel based on his own experiences as a timid teenager who often felt misunderstood and frequently found himself in trouble due to his words, usually resulting in fights that he would lose. The character of Mr. Miyagi, whose name pays tribute to Goju-Ryu founder Chojun Miyagi, is inspired by several of Kamen’s supportive Goju-Ryu instructors. In contrast, John Kreese represents a cartoonish amalgamation of the worst traits found in many misguided American karate instructors, who prioritize defeating opponents and winning at all costs.
The differing approaches to karate highlight a classic conflict between light and dark. Kreese’s aggressive, violent, and offensive style starkly contrasts to Miyagi’s spiritually enriched, defensive philosophy, emphasizing quiet strength and balance in life. The narrative also delves into themes of relationships, growth, and maturity. Weintraub further interprets it as a story about fathers and sons. Miyagi acts as a father figure to Daniel, teaching him to be assertive while still maintaining kindness. In turn, Daniel becomes a worthy successor to Miyagi’s cultural legacy.
Columbia Pictures encountered an early challenge concerning the title. A character named “Karate Kid” already existed in DC Comics’ League of Superheroes, prompting Columbia Pictures to secure a licensing agreement with DC Comics.
John G. Avildsen was chosen to direct the film, which had a budget of $7.5 million, because of his talent for telling underdog stories focused on characters and relationships. He had previously directed the highly acclaimed Best Picture-winning film “Rocky.” Initially, Avildsen dismissed the offer, jokingly referring to it as “The KaRocky Kid” since it was another underdog sports movie. However, after reading Kamen’s script, he found a personal connection to the story, as he had experienced bullying during his youth, particularly from his older brother. The script was well-crafted and centered on themes of compassion rather than violence. It notably did not include guns or stabbings, nor did it contain foul language, promoting a sense of hope that audiences of all ages could appreciate. Additionally, the teenage characters were portrayed realistically, in contrast to the typical stereotype of depicting teens as nothing more than horny stoners.
Avildsen envisioned “The Karate Kid” as a reflection of Norman Rockwell’s vision of America, where decency and goodness nurture our collective spirit. However, he found it to be quite different from “Rocky.” While “Rocky” emphasizes the journey of proving oneself through endurance, “The Karate Kid” tells the story of Daniel, who must win to escape his tormentors. Daniel’s victory is achieved with the support and training of his surrogate father, whereas Rocky’s success comes from the inner strength he already possesses. Avildsen decided that “The Karate Kid” should stand independently and not be compared to “Rocky.” This decision allowed him to work with his frequent collaborator, Bill Conti, who composed the score for “Rocky,” to create the music for “The Karate Kid.”
Pat Morita was one of the first actors director Caro Jones invited to audition for the role of Mr. Miyagi in “The Karate Kid.” Morita, who had no background in martial arts, humorously remarked that he couldn’t even lift his leg to step over an object. He was somewhat recognizable due to his semi-regular role as Arnold in the early seasons of the hit TV show “Happy Days.” However, he has not been in high demand since then, as few roles were available for middle-aged Asian American men with comedic skills. Much of his career had been spent performing as a nightclub comedian in Hawaii. When he learned about the audition for “The Karate Kid,” his agent quickly contacted him, urging Morita to attend and pursue the role, as it had the potential to revitalize his acting career, which had consisted mainly of minor parts portraying a stereotypical “Chinaman.”
Wholly unfamiliar with Morita’s previous work and comedic background, Avildsen was impressed by Morita’s audition and pressed to hire him. However, Weintraub immediately rejected Morita for the role because of his strong association with comedy. Weintraub believed that the character of Mr. Miyagi should be inhabited by a distinguished Japanese actor, not a stand-up comedian from California, so the search continued.
Several actors were considered for the role of Daniel Weber, including C. Thomas Howell, Charlie Sheen, Emilio Estevez, Nicolas Cage, Anthony Edwards, Eric Stoltz, Chris Penn, Fisher Stevens, Jon Cryer, Willie Aames, Doug McKeon, Jimmy McNichol, Leif Garrett, and Robert Downey Jr. Some actors were eliminated because they were too tall or too old. In contrast, others did not possess the confidence and vulnerability needed for the role.
Clint Eastwood strongly advocated for his sixteen-year-old son, Kyle, to be cast in the lead role. Although executives at Columbia Pictures evaluated Kyle’s performance in Clint’s 1982 movie “Honkytonk Man” and found it lacking, they still invited him to audition because they wanted to collaborate with Clint. Unfortunately, Kyle’s audition did not impress them. Frustrated, Clint made a counteroffer: he would direct “The Karate Kid” for a reduced fee and agree to star in any future Columbia film if they cast Kyle. When Columbia rejected this proposal, Clint became furious and refused to work on any projects for Columbia Pictures under its then-owner, Coca-Cola. He even banned Coca-Cola products from his movies to this day, despite the company selling Columbia in 1989.
The filmmakers eventually focused on 22-year-old Ralph Macchio, a regular on the TV show “Eight is Enough” who had recently delivered an impressive performance in Francis Ford Coppola’s film “The Outsiders.” At first, Macchio found the film’s title cheesy and thought the teenage love story was overly sentimental. However, he connected with director John Avildsen immediately. Although Macchio wasn’t physically imposing, he possessed the street smarts from growing up in New York that Avildsen sought. Despite having little prior experience in martial arts, Avildsen believed that Macchio’s background in dancing would help him learn the necessary movements during a six-week karate training program. Once Macchio was cast, his character’s last name was changed from Weber to LaRusso. This was not the only name change: Donald Rice became “Johnny Lawrence,” and another character, previously named “Johnny” McCann, was renamed “Freddy Fernandez.” Macchio had to go on a strict diet of fish, poultry, fruit, veggies, and nothing containing flour or dairy.
Many actors auditioned for the role of Johnny Lawrence, including Crispin Glover, but the part ultimately went to newcomer Billy Zabka. Ironically, Zabka faced bullying after moving to California from New York due to his accent. To help him cope, his father became a mentor and taught him how to fight. After sustaining an injury to his back, Zabka, who had previously been a junior varsity wrestler, decided to focus on acting. He had auditioned for another film with one of the casting directors from “The Karate Kid,” who later invited him to audition for the role of Johnny, the film’s main bully.
Zabka’s resume highlighted his born-again Christian beliefs, which prompted director John Avildsen to consider whether he could convincingly portray a character with a corrupted personality. When Zabka arrived for the audition, he wore a headband and tank top, embodying a harsh and disrespectful attitude. During the reading, he even pulled Avildsen out of his seat by his collar, which genuinely frightened the director. Producer Weintraub asked whether an actor without prior martial arts training could convincingly play a black-belt karate master. However, Avildsen was willing to take the risk. Despite the intense training regimen required before and during production, Zabka was only offered scale pay for his acting salary.
Elizabeth Shue was discovered in a Burger King commercial. At the time, she had just enrolled at Harvard but decided to put her studies on hold to pursue the role. Director John Avildsen found her appealing due to her sweet, girl-next-door persona, which resembled a modern-day June Allyson. Although from New Jersey, she exuded a distinctly Californian vibe, enabling her to win the role over competitors such as Lea Thompson, Demi Moore, and Helen Hunt.
Randee Heller was selected to play Daniel’s mother, Lucille, surpassing Valerie Harper, Dixie Carter, Christine Baranski, and Tuesday Weld.
Several actors, including Kurt Russell, Jeff Bridges, Harvey Keitel, Christopher Walken, and Leonard Nimoy, reportedly declined the role of John Kreese, the Cobra Kai sensei. There are also claims that Chuck Norris was seriously considered for the role but turned it down due to its negative portrayal of a professional karate teacher. Director John Avildsen stated that Norris was never approached for the part, while Norris claimed he wasn’t asked but would have likely declined for that reason.
The most likely explanation is that Norris, who is good friends with choreographer and trainer Pat Johnson, learned about the role early on and casually dismissed it, so he was never formally asked to participate. However, Norris did assist the production by connecting them with others, including Fumio Demura, whom he believed could be a suitable fit for the role of Mr. Miyagi. Although Demura felt his English wasn’t strong enough for a leading role, he agreed to work on the project as a stunt person. Norris’s brother, Aaron, and his son, Mike, auditioned for unspecified roles in the film.
Hollywood superagent Mike Ovitz arranged an audition for his personal martial arts instructor, who aspired to become an actor. Avildsen met the instructor but had no interest in hiring him, describing him as someone who seemed to come from another planet. The instructor arrived at the audition wearing a white cape and discussed conspiracy theories related to national secrets and his supposed work with the CIA. Although he was not selected for *The Karate Kid*, this instructor, Steven Seagal, later found fame and fortune in martial arts cinema several years later.
The search for the character Miyagi continued to be a challenge during pre-production. Producer Weintraub explored various locations from San Francisco to Asia, including Tokyo’s Kabuki theaters and Hong Kong’s film industry, but he had no success. The studio arranged for the renowned Japanese actor Toshiro Mifune to be flown from Japan to Los Angeles. However, Weintraub was disappointed to discover that Mifune spoke very little English and would need his lines written phonetically. Sensing Weintraub’s disappointment during their meeting, Mifune visited a costume shop, donned an outfit similar to Miyagi’s, and sent Weintraub pictures of himself in the costume. Weintraub was tempted to cast him despite his limitations. As a sanity check, Weintraub contacted director John Frankenheimer to ask how Mifune spoke English so well in the film “Grand Prix.“ Frankenheimer explained that Mifune’s lines were skillfully dubbed by voice actor Paul Frees later. Unfortunately, Weintraub did not have the time or budget to use that dubbing approach effectively, leading to Mifune being ruled out for the role.
The production date was fast approaching, and Weintraub was seriously considering putting the project on hold if they couldn’t find a suitable actor for the role of Miyagi. They evaluated nearly every prominent Asian actor in Hollywood, including Mako, Keye Luke, and James Hong, but none seemed to be a good fit. When he learned about the potential production delay, Avildsen rushed into Weintraub’s office to advocate again for Morita. However, Weintraub remained adamantly dismissive, stating that he had known Morita for 25 years from when he used to book him as a stand-up comic in the Catskills, where Morita performed his raunchy act as the “Hip Nip.” Frustrated by Avildsen’s insistence, Weintraub eventually threw Avildsen out of his office, insisting that this was not a vacation resort but a motion picture. He asserted that Miyagi was a heavyweight role that would not be played by any “Hip Nip.”
During their next pre-production meeting, Avildsen played a videotape on a monitor in the background without any commentary. The footage showcased Morita delivering a monologue from the script. Recently, Morita had changed his appearance by growing his hair and sporting a beard. His performance was heartfelt, drawing on the characteristics of his father, uncle, and other men Pat had known while growing up. He fully immersed himself in the character to such an extent that Weintraub didn’t even recognize him and exclaimed, “That’s what I want—a goddamn actor! Who is this?” Avildsen replied, “That’s Pat Morita, the guy you said you didn’t want for the role.”
Weintraub ultimately agreed to bring in Morita for further evaluation. They talked for two hours, and to Weintraub, Morita seemed to be the affably silly person he had always known. Weintraub believed that Morita needed to be tested more thoroughly. They arranged for him to return several times to assess whether he could consistently deliver the same level of performance, work well with Macchio, and evaluate his wardrobe. Weintraub admits that Morita impressed everyone each time he returned, especially him; he was moved to tears by Morita’s emotional portrayal. They agreed to make their final decision about moving forward with Morita over the weekend, but the outcome appeared clear. On Monday morning, Weintraub went to Morita’s address and knocked on his door. He announced, “Pat, I nearly made the worst mistake of my life. I want to be the first to tell you that you got the part of Miyagi.”
Weintraub collaborated with Avildsen to advocate for Morita in front of the studio executives, assuring them they would not find anyone better suited for the role. Morita brought depth, nuance, empathy, and compassion to his character, which is evident in his performance. His comedic timing and instincts brought the role and the scenes to life. Morita accepted a salary of only $30,000.
Avildsen’s first choice for the role of Kreese was Perry King, who embodied the Nazi-like demeanor that Avildsen was seeking, as he viewed the Cobra Kai students as reminiscent of the brainwashed “Hitler Youth.” Unfortunately, King withdrew from the role when NBC greenlit the pilot for a midseason replacement show called “Riptide.”
John Glover seemed likely to earn the Kreese role and took part in rehearsal readings. However, for reasons unknown, the production team decided to go in a different direction. Ultimately, Martin Kove was cast in a last-minute decision after production had already begun. Although he was initially told he had a week to prepare for his audition, he was instructed to come in the next day instead. His ex-wife advised him to channel his frustration into his performance. During the audition, Kove confronted director John Avildsen and casting director Caro Jones about feeling angry and disrespected due to the lack of preparation time and immediately launched into his audition monologue. The intensity of Kove’s performance made a strong impression on Avildsen. A few days later, Kove used the same approach with producer Jerry Weintraub and successfully secured the role.
Pat Morita and other cast members trained under Pat Johnson, a ninth-degree black belt in karate and a martial arts choreographer. Johnson, who also appears in the film as a tournament referee, fostered strong connections among the actors during their training. Morita and Ralph Macchio practiced together in a relaxed Okinawan style, while Martin Kove trained independently to avoid showing signs of struggle or discomfort. Kove based much of his character’s demeanor, body language, and style on the techniques taught by fight choreographer Pat Johnson. The five students of Cobra Kai were trained with strict discipline in an intense Korean Tang Soo Do style, reflecting the rigorous approach that John Kreese would have employed for their training.
The producers organized a karate tournament to film the finale, allowing them to recruit the necessary extras. In the movie, they purposefully distorted the portrayal of karate tournaments for dramatic effect. For instance, heavy contact with the body and face is prohibited in competitions. Furthermore, the crane kick is not a traditional karate move; it was invented by martial arts advisor Darryl Vidal, who portrays a semi-finalist defeated by Johnny in the final tournament.
Columbia aimed to enhance the script by concentrating on character motivations. Script doctor Dennis Palumbo proposed changing the ending so Daniel would lose the final match, arguing that Miyagi taught that winning or losing doesn’t matter. However, Weintraub and the executives insisted that Daniel must win to gain confidence and self-respect. Although they dismissed Palumbo’s suggestion, they did make adjustments to the climax. In the original version, Miyagi makes a split-second decision to heal Daniel’s injury. The revised ending features Daniel pleading with Miyagi for another chance to prove himself worthy.
Avildsen clipped the script’s original ending, which featured a confrontation between Kreese and Miyagi in the parking lot after the tournament. Given the heightened emotions during the tournament’s final moments, he believed such a scene would be anticlimactic. Instead, the film concludes with a freeze-frame of the spectators carrying a victorious Daniel as he holds his trophy.
During test screenings, one female viewer expressed disappointment that Miyagi was not part of the celebration, suggesting seeing them together after the victory would have been nice. Avildsen agreed, noting that the original script had included a scene where Daniel and Miyagi walked off together. He wanted to reshoot the ending, but Columbia Pictures executives refused his request because the film was over budget, they were satisfied with the current test scores, and any news of reshoots might suggest a lack of confidence in the movie. Avildsen mentioned that he didn’t need to reshoot the entire ending, including reaction shots of Miyagi. He offered to pay for the reshoot, proposing that if the new ending performed better, Weintraub would reimburse him. Weintraub agreed, and Avildsen brought Morita back to film additional reaction shots of Miyagi looking at Daniel with pride. The revised ending featuring a proud Miyagi resulted in Columbia Pictures’ highest audience satisfaction scores since 1982’s Tootsie.
The studio aimed to shorten the film to under two hours to allow for more daily screenings. Editor Bud Smith proposed cutting a scene that featured a drunken Miyagi reminiscing about his wife. Smith believed this scene slowed the momentum leading up to the climax, and producer Weintraub agreed. However, director Avildsen and composer Kamen urged Frank Price to test the scene with audiences, arguing that it was essential for Miyagi’s character development. The overwhelmingly positive audience test scores convinced Price not to alter the film as it was.
Weintraub, recognized for his contributions to the music industry, selected songs to enhance key scenes in the movie. This choice created a distinctive soundtrack that underscored the narrative. Among the selections, Joe Esposito’s “You’re the Best,” written initially but rejected for the Rocky III soundtrack, stands out as a highlight. Conti composed the film’s score by blending Eastern and Western musical elements, effectively representing younger and older characters. Additionally, Zamfir, a master of the pan flute, contributed to the score. This fusion of musical styles inspired Avildsen to rethink how he shot certain moments in the film, aiming to reflect the wistful melodic tempo.
After the successful test screenings, sneak previews were held nationwide, all receiving enthusiastic responses. Weintraub realized he had a hit when he saw kids and teens practicing karate moves and imitating the crane kick from the climax in the parking lot after the screening. This excitement prompted Columbia Pictures to greenlight a sequel even before the film’s official theatrical release. Columbia matched the production budget with a $7.5 million promotion budget and launched a national advertising campaign featuring numerous appearances by Ralph Macchio and Pat Morita.
“The Karate Kid” was a significant success, becoming the fifth highest-grossing film in 1984. It also sparked renewed interest in self-defense and martial arts in the United States during the mid-to-late 1980s, especially among teenagers. As a result of his transformative performance, Pat Morita received a nomination for Best Supporting Actor at the Oscars, making him the first Asian-American actor to achieve this honor.
“Karate Kid” is a classic example of an underdog story, and it succeeds due to strong performances and engaging situations. One notable aspect of the film is that the villains are not depicted as purely evil. While they are undoubtedly immature troublemakers, the gang that bullies Daniel doesn’t always target him. Daniel fights back by pulling pranks against them, provoking the gang even more.
Although it may feel somewhat dated by today’s standards, *The Karate Kid* remains impactful, especially for younger audiences. Its popularity resulted in a significant hit in 1984 and has become a family classic. While many similar formulas have been used in various films, including its sequels, this movie is still worth watching, particularly for children and those nostalgic for the 1980s.
Qwipster’s rating: A
MPAA Rated: PG for violence and language
Running Time: 126 min.
Cast: Ralph Macchio, Pat Morita, Elisabeth Shue, William Zabka, Randee Heller, Martin Kove
Director: John G. Avildsen
Screenplay: Robert Mark Kamen