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 network’s evening news. In 1978, Billy became America’s youngest verifiable karate black belt at just nine years old. He started studying a Korean form of karate called Tang Soo Do at six after frequently being bullied by larger kids in his Canoga Park neighborhood.
Billy’s father, Paul, believed the bullies would leave him alone if he stood up to them. However, Billy still came home beaten up and injured. Paul’s wife insisted that his responsibility was to teach his son how to fight. They enrolled Billy in martial arts classes designed for kids. Billy’s small size presented challenges, but he developed considerable confidence in his physical skills after learning patience and self-control. He could no longer be intimidated, and the bullies never bothered him again.
Billy’s story reminded Weintraub of the Charles Atlas ads featuring a 98-pound weakling who transformed his life through body training. He reached out to meet with Billy and asked him if he fought against bullies as well as he does when in tournaments. Billy replied he didn’t know because there was no longer a reason to fight.
Weintraub took the idea that he dubbed “The Karate Kid” to Frank Price, head of Columbia Pictures, who optioned the rights to Billy’s story. Price reached out to screenwriter and martial arts expert Robert Mark Kamen to develop a script around the barebones premise of a young bullied boy who learns martial arts and becomes a champion.
Kamen told Price he already had a story idea. It involved a transplanted teenager struggling to fit into his new town. He befriends a wise, funny Okinawan gardener who shows him a pure form of karate that transforms his life. He hadn’t developed the story into a script because he didn’t think it would sell. It did on this day because Price also bought the rights to Kamen’s story. Price told him to combine the stories and keep the boy a teenager so they could introduce a love story and sell more tickets.
Kamen’s story elements are primarily drawn from his real-life journey into 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 altercation began when Kamen made remarks about the swastika medallions the bullies wore, which prompted them to hurl antisemitic slurs at him. 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, found refuge in the New York State Pavilion, where he came across a karate exhibition led by charismatic ex-Marine Ed McGrath. Captivated by McGrath’s demonstration on handling multiple opponents and disarming a knife-wielding attacker, Kamen was inspired to sign up for 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 or 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. He rewarded them with the black belts in his car’s trunk for their efforts. Kamen was dissatisfied with this method of obtaining a black belt and felt something was lacking in McGrath’s training. Consequently, he began searching for a better school.
Kamen discovered several karate instructors were even more arrogant and dangerous than McGrath. Many were ex-military, like McGrath, who had picked up karate while stationed in Okinawa or Japan. They focused on offensive strategies aimed at defeating opponents rather than 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. Another instructor had his students cover their hands and feet with chalk after bringing them to a secluded park to ambush each other. The student who emerged with the least amount of chalk on them was declared the winner.
Additionally, a sensei took delight in teaching his students the best ways to break their opponents’ bones during matches. He believed a karate match didn’t end until one person was left standing. Style wars became common, with students from one dojo challenging those from another, engaging in battles that often resulted in bloodshed and broken limbs.
In 1969, Kamen moved to Philadelphia to attend graduate school at the University of Pennsylvania, where he joined a dojo led by Shotokan karate pioneer Teruyuki Okazaki. Here, he began to appreciate the karate’s more profound significance beyond its physical elements.
In 1973, while visiting New York, Kamen met Toshio Tamano, from whom he learned about the Okinawan Goju-Ryu style. Kamen found this style to be the most fulfilling and comprehensive. He commuted daily from Philadelphia to train under Tamano and developed an insatiable thirst for further knowledge.
His quest for understanding ultimately led him to Okinawa, where he met Meitoku Yagi, Shinpo Matayoshi, and others who trained directly with Goju-Ryu’s founder, Chojun Miyagi. These experiences opened his eyes to the traditional and pure lifestyle surrounding the art of karate. Kamen realized that how karate was taught in America, focusing on belts and trophies, had no meaning.
When Kamen returned to America, he began studying with 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, free from the misguided trappings of American karate. The students in his class wore T-shirts and shorts, as Kayo did not believe in requiring gis or belts. He explained that belts were introduced as a marketing strategy when karate was brought to America because students felt they needed incentives. Kayo taught his students the traditional way of karate, highlighting that balance in life is just as important as balance in the body.
Kamen’s journey toward enlightenment in karate informed his story. The theme would be the differences between American karate teachers and their Asian counterparts. In Asia, karate is viewed as a way of life, whereas American dojos focus heavily on sparring, competition, tournaments, and personal achievements. The spiritual aspects of karate form the foundation in Asia, while in America, the emphasis is on physical domination. When two practitioners spar in Asia, they do so to help each other improve their self-defense techniques, such as blocks, throws, and strikes. In contrast, sparring in America often centers around determining who would win in a fight.
In Kamen’s early script, spunky teenager Daniel Weber and his mother move from New Jersey to Reseda, California, to start a new life. Initially, their new beginnings seem promising, but Daniel soon becomes disillusioned with his new environment after several encounters with a group of bullies. He particularly clashes with their leader, Johnny, after he begins dating Johnny’s ex-girlfriend, Ali. Daniel is subject to constant physical intimidation and abuse, as Johnny and his gang are part of a ruthless karate school in town under the slogan “No Mercy,” run by ex-Vietnam veteran John Kreese.
One day, Daniel’s landlord, Mr. Miyagi, saves him from bullies using impressive defense techniques. Grateful for the help, Daniel learns karate from Miyagi, who teaches him in the traditional Okinawan style. Miyagi and Kreese agree that Daniel will be “off-limits” until the day of a karate tournament in town, where various karate styles compete against each other. However, Daniel is far from ready for the match. With Miyagi’s support, he practices daily to prepare but often finds the teaching methods unconventional, tedious, and strenuous.
Kamen based the character of Daniel, named after one of his nephews, on his experiences as a wimpy teenager who often felt misunderstood and whose mouth frequently got him into fights, usually ending up on the losing side. Mr. Miyagi, whose name honors Goju-Ryu founder Chojun Miyagi, is a composite of several of Kamen’s benevolent Goju-Ryu instructors. The bully, Johnny Lawrence—also named after one of Kamen’s nephews—is trained by John Kreese, a composite of the many misguided American karate instructors who emphasize defeating opponents and winning at all costs.
The differing approaches to karate represent a classic conflict between light and dark. Kreese’s aggressive, violent, offensive style starkly contrasts Miyagi’s defensive philosophy, emphasizing quiet strength and spirituality. The story also explores themes of relationships, growth, and maturity. Weintraub interpreted it as a narrative about fathers and sons. Miyagi serves as a father figure to Daniel, who learns to be assertive without sacrificing kindness. In Daniel, Miyagi finds a worthy successor to his cultural legacy.
Columbia Pictures faced a challenge using the title “The Karate Kid” because a character with that name already existed in DC Comics’ League of Superheroes. As a result, they had to secure a licensing agreement with DC Comics.
John G. Avildsen was selected to direct the $7.5 million budgeted film due to his ability to tell underdog stories built on characters and relationships. He had previously directed the highly successful Best Picture-winning film “Rocky.” Avildsen initially belittled the offer because it was another underdog sports movie, jokingly referring to it as the “The KaRocky Kid.” However, after reading Kamen’s script, he connected personally with the story because he had experienced bullying in his youth, especially from a brother who was nine years older than him. The story was well-crafted and centered on themes of compassion rather than violence. It did not include guns or stabbings, nor did it contain foul language, promoting a sense of hopefulness that audiences of all ages could readily appreciate. The teenage characters were portrayed realistically, in contrast to the common trend of depicting teens as horny stoners.
Avildsen envisioned “The Karate Kid” as a reflection of Norman Rockwell’s vision of America, where decency and goodness nourish our collective spirit. He found it much different than Rocky upon closer inspection. “Rocky” was about going the distance to prove something to oneself. At the same time, Daniel needed to win to escape his tormentors. Daniel achieves his victory with the support and training of his surrogate father, while Rocky’s success stems from the inner strength he already possesses. Avildsen didn’t worry about Rocky’s comparisons, assuming they were distinct stories, and hired frequent collaborator Bill Conti, who scored Rocky, to compose.
Pat Morita was among the first actors brought in by casting director Caro Jones to audition for the role. Morita had no background in martial arts, self-deprecatingly admitting that he couldn’t lift his leg to step over an object. Morita became recognizable for his semi-regular role on “Happy Days,” but he was not in high demand. Much of his career in show business was spent in Hawaii as a nightclub comedian. When he learned about the audition for “The Karate Kid,” his agent quickly called him, urging Morita to attend and fight for the role because it might reignite his acting career beyond bit parts portraying a generic “Chinaman”.
Unfamiliar with his previous work, Director John Avildsen was impressed by Morita’s performance. However, Weintraub initially rejected Morita because of his strong association with comedy. Weintraub believed that the role of Mr. Miyagi was significant and required a respected Japanese actor. In his eyes, Morita was simply a stand-up comedian from California. Consequently, the search for a more suitable actor continued globally over the following weeks.
Many 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 were too tall, others too old. Many lacked the necessary mix of confidence and vulnerability.
Clint Eastwood strongly advocated for his sixteen-year-old son, Kyle, to be cast in the lead role. Columbia executives evaluated Kyle’s performance in Clint’s film “Honkytonk Man,” and they found it lacking. However, they had been eager to work with Clint for years, so they invited Kyle to audition. Unfortunately, Kyle’s audition did not sway anyone’s opinion, and they ultimately declined to cast him.
Frustrated, Clint devised a counteroffer they couldn’t refuse: he would direct “The Karate Kid” at no charge and would agree to star in any future film of Columbia’s choosing in exchange for Kyle’s casting. When Columbia rejected this proposal, Clint was furious. He refused to take on any Columbia Pictures projects for many years and even banned Coca-Cola products from movie sets, as Coca-Cola owned Columbia at the time.
The filmmakers soon focused on 22-year-old Ralph Macchio, a regular on the TV show “Eight is Enough” who recently delivered an impressive performance in Francis Ford Coppola’s “The Outsiders.” Initially, Macchio found the film title to be corny and considered the story a bit overly sentimental. However, he connected with director John Avildsen right away. Although Macchio wasn’t physically imposing, he possessed the New York street smarts that Avildsen sought. He had little prior martial arts experience, but he mentioned that his dancing background helped him learn the movements required for a six-week karate training program. After Macchio was cast, his character’s last name was changed from Weber to LaRusso. Macchio was one of many who advocated for a change in the film’s title> He called it corny, while some thought it only appropriate for a movie meant for drive-in theaters. One of Avildsen’s suggestions for a new title was “East Meets West in the West.”
Many actors auditioned for the role of Daniel’s foil, Johnny Lawrence, including Crispin Glover, Mike Norris, and Aaron Norris. When his family moved to California, Billy Zabka, originally from New York, ironically faced bullying due to his accent. His father became a mentor, teaching him how to fight. After injuring his back, Zabka, a former junior varsity wrestler, turned to acting. He had auditioned for another film with one of the same casting directors from “The Karate Kid,” who invited him to audition for the role of Johnny, the film’s main bully.
Zabka’s resume highlighted his born-again Christian beliefs, prompting director John Avildsen to explore whether he could convincingly portray someone of a terrible character. When Zabka arrived for the audition, he dressed in 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 in a way that authentically frightened him.
Weintraub expressed concerns about 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 rigorous 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. Director John Avildsen found her appealing for her sweet, girl-next-door persona, similar to a modern-day June Allyson. Despite being from New Jersey, she had a distinctly Californian vibe and won the role over competitors like Lea Thompson, Demi Moore, and Helen Hunt.
Randee Heller was chosen as Daniel’s mother, Lucille, beating Valerie Harper, Dixie Carter, Christine Baranski, and Tuesday Weld. Additionally, Sarah Jessica Parker was considered for Ali’s girlfriends.
Reportedly, Kurt Russell, Jeff Bridges, Harvey Keitel, Christopher Walken, and Leonard Nimoy declined the role of John Kreese, sensei of Cobra Kai. Chuck Norris was a strong consideration. John Glover seemed a top pick and joined the cast in rehearsal reads, but something caused them to go a different direction. Ultimately, Martin Kove was cast in a scramble. Although he was initially told he had a week to prepare for his audition, he was told to come in the next day. His ex-wife advised him to channel his frustration toward Avildsen and casting director Caro Jones right before going into his reading.
When Kove confronted Avildsen about his feelings of disrespect, he immediately launched into his audition monologue. His intense delivery left a strong impression on Avildsen. A few days later, Kove used the same approach with producer Jerry Weintraub and successfully landed the role.
Every central role was filled except for Miyagi. Weintraub searched in San Francisco and Asia, from Tokyo’s Kabuki theaters to Hong Kong’s film industry, but had no luck. The studio arranged for the renowned Japanese actor Toshiro Mifune to be flown from Japan to Los Angeles. However, Weintraub was disappointed to learn that Mifune spoke very little English and would require his lines to be written phonetically. Sensing Weintraub’s disappointment during their meeting, Mifune visited a costume shop, wore an outfit resembling Miyagi’s, and sent pictures to Weintraub. Weintraub found this intriguing. He reached out to John Frankenheimer to inquire how Mifune managed to speak English in the film “Grand Prix.“ Frankenheimer explained that Mifune spoke in Japanese and was skillfully dubbed with an English voice later. Unfortunately, Weintraub didn’t have the time or budget to make that approach work effectively, which led to Mifune being ruled out for the role.
The production date was approaching quickly, 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 fit. Just then, Avildsen burst into Weintraub’s office to advocate for Morita. Weintraub acknowledged that he’s been aware of Morita for 25 years. Weintraub used to book him as a standup comic in the Catskills, where he performed his raunchy stage act as the “Hip Nip.” Frustrated, Weintraub threw Avildsen out of his office, insisting that this was not a vacation resort but a motion picture. Miyagi was a heavyweight part that wouldn’t be played by any “Hip Nip.”
During their next pre-production meeting, Avildsen played a videotape in the background. The footage featured Morita, dressed as Miyagi, performing a monologue from the script. Morita had recently changed his appearance by growing his hair and sporting a beard. His performance was a heartfelt imitation of his father, uncle, and other men Pat knew growing up, and he fully immersed himself in the character. So much so that Weintraub didn’t even recognize him. He exclaimed, “That’s what I want. A goddamn actor. Who is this?” Avildsen responded, “That’s Pat Morita, the guy you said you didn’t want for the part.”
Weintraub ultimately approved bringing Morita in to evaluate him further. They talked for two hours, and to Weintraub, he seemed like the affably silly Morita he’d always known. Weintraub felt Morita needed to be tested. They arranged for him to read five times to assess whether he could consistently deliver the same level of performance. Weintraub admits that Morita was brilliant every time. The final step was a screen test with Macchio. Everyone was impressed, especially Weintraub, who was moved to tears by Morita’s emotional portrayal. Weintraub later tracked down Morita’s address and knocked on his door. He told Morita, “Pat, this is Jerry Weintraub. 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 worked with Avildsen to advocate for Morita in front of the studio executives, assuring them they would not find anyone better suited for the role. He brought depth, nuance, empathy, and compassion to his character, which truly shone through. His comedic timing and instincts brought the role and the scenes to life. Morita accepted a salary of only $30,000.
Pat Morita and other cast members trained under Pat Johnson, a ninth-degree black belt in karate and 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 complaint. Kove drew much of his character’s demeanor, body language, and style from 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 approach that John Kreese would have used for their training.
The producers staged a genuine karate tournament to shoot the finale, which generated the needed extras. In the film, they intentionally misrepresented the accuracy of the karate tournaments for dramatic effect. For example, heavy body contact and face contact are not permitted. Additionally, the crane kick is not a traditional karate move; it was created by martial arts advisor Darryl Vidal, who plays a semi-finalist defeated by Johnny in the final tournament.
The studio wanted to shorten the film to under two hours to increase the number of daily showings in theaters. One of the editors suggested removing a scene featuring a drunken Miyagi in his military uniform as he reminisced about his wife. Weintraub agreed, noting that the scene slowed down the film’s momentum. However, Avildsen and Kamen bypassed the usual channels to urge Frank Price to test the scene with audiences, as they believed it was significant. They felt it marked the transition of Miyagi from a caricature to a fully developed character. The audience test scores must have supported their argument, as Price ultimately decided to keep the scene in the film.
Avildsen made changes to the film’s ending. Initially, the movie was supposed to conclude with a scene in the parking lot where Kreese and Miyagi confronted each other after the tournament. However, Avildsen decided against this choice because the emotions were already heightened during the final moments of the tournament. He felt that ending with Miyagi instigating a fight would feel anticlimactic. As a result of the trim, the final shot of Daniel and Miyagi walking off together was removed. During test screenings, some viewers expressed disappointment that Miyagi seemed to disappear from the story at the end. To address this issue, Avildsen fought to have Morita return for some reaction shots that could be edited into the film’s final moments.
Jerry Weintraub, notable for his involvement in the music industry, handpicked songs that would enhance key scenes in the movie. This approach resulted in a unique soundtrack with a strong emphasis on the narrative. One interesting detail is that Joe Esposito’s song “You’re the Best” was created for the Rocky III soundtrack but hadn’t made the cut.
The film excelled in test screenings, earning Columbia Pictures’ highest scores since Tootsie in 1982. Weintraub realized he had a hit when he noticed kids and teens practicing karate moves and imitating the crane kick from the climax in the parking lot after the screening.
Following this success, sneak previews were held nationwide, all receiving enthusiastic responses. Columbia Pictures matched the production budget with a $7.5 million promotion budget, launched a national advertising campaign, and arranged for Ralph Macchio and Pat Morita to appear at events nationwide.
The excitement surrounding *The Karate Kid* led Columbia to greenlight a sequel even before the film’s official theatrical release. And a success it was. “The Karate Kid” became the fifth highest-grossing film of 1984 and sparked a resurgence of interest in self-defense and martial arts in the United States during the mid-to-late 1980s, particularly among teenagers. As a result of his transformative performance, 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: B
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