What is it? What a time to be alive. The country was riveted by the presidential campaign of Walter Mondale. The plucky cassette Walkman was in everyone’s home. We all woke up each day asking, “Where’s the beef?” And looming above it all, breakdancing fever burned through America like a raging inferno in those halcyon days of 1984, 39 years ago now. Not one, not two, but three movies dedicated to the dance sensation hit the big screens. First came Breakin’ in May, followed by competitor Beat Street in June, culminating in the December 1984 release of the Avengers: Endgame of poppin’ and lockin’, Breakin’ 2: Electric Boogaloo.
Breakin’ and its sequels joined a long line of teen-oriented dance movies from Beach Blanket Bingo to Bring It On to Step Up, all frothy pop culture trend-chasing at its height. The first Breakin’ wraps up all its dance numbers around the story of rich white girl dancer Kelly (Lucinda Dickey) who becomes friends with a couple of streetwise breakdancers, Ozone (“Shabba-Doo” Quinones) and Turbo (“Boogaloo Shrimp” Chambers). For the sequel, the producers at Cannon Films turned to the time-worn concept of “puttin’ on a show,” as a beloved youth centre is being threatened by a cartoonish evil yuppie developer and the only way to save it is… with dance! The awkward yet oddly unforgettable title of Breakin’ 2 ensured it would endure in film history. But as a movie… well…
Why I never saw it: Weirdly, I saw Breakin’ on the preferred medium, VHS tape, sometime during its original 1980s heyday, but about 30 seconds after it was released, Breakin’ 2 and its insane subtitle became a punchline. To see it would have been complicit in its very lameness. It got referred to in the title of a terrific documentary about the ‘80s delights of the parent film company, Electric Boogaloo: The Wild, Untold Story of Cannon Films. More disturbing, because we can’t have nice things in this life, somehow the word ‘boogaloo’ got hijacked by a bunch of racist idiots, too.
Does it measure up to its rep? Look – this is a ridiculous movie. With a title like that, how could it not be? But it’s kind of charming, too in a completely inane way. A gaudy, Hollywood snapshot of early hip-hop culture, it’s not quite as grounded in reality as the first Breakin’ (which was hardly a Bergman film by any means). Like most sequels it’s bigger, brasher and louder, immediately kicking off with a giant dance number where an entire multi-racial neighbourhood gyrates and dances down the streets, from construction workers to old ladies to traffic officers. Truly, Breakin’ 2 kind of defies words. It’s a movie one has to describe in YouTube clips:
It also features an utterly non-violent “breakdance battle” which might just be the greatest thing you’ll ever see:
And that’s not even getting into the stunning ’80s fashions, the compelling bro-mance between its two leading men, the scene where young Boogaloo Shrimp is healed by the very power of dance, the entirely random puppet scene. I can’t pretend it’s a good movie by any means. The actors are all stiff and weirdly aware of the camera. The late “Shabba Doo” is a strangely charismatic awkward presence, eyeballing the camera with Brando-esque intensity, while Lucinda Dickey – who starred in both Breakin’ and the utterly magical Ninja III: The Domination and then vanished from screens – has a perky charm of her own, even if you don’t buy the reality of her “character” for a second. But you watch a movie like Breakin’ 2 for the dance numbers, and they’re elaborate, campy and colourful nonsense, and yet somehow, I smiled at every one of them.
Worth seeing? Breakin’ 2: Electric Boogaloo is cheese through and through, of course. How could it not be? And yet, while it may seem like damning with faint praise, it’s got a good heart. Far more diverse than many movies of the time, it gently teases its very chaste interracial romance and fundamentally has a message of inclusiveness and acceptance, which I dig. There’s a place for this kind of airy escapism in cinema. Sure, you can pop it on the screen of your choice and laugh at it the entire time, at the fashions, the dance moves, the glorious camp of it all, but you know – for all its corporate synergy fad-hopping origins and essentially clumsy filmmaking, it’s weirdly sincere.
Somehow, watching one of these goofy teen movies where all the world’s problems can just be solved with silly dancing is a bit life-affirming. To quote the deeply profound lyrics of the soundtrack song, “When I’m dancin’ / It seems like everything’s all right / Everything’s all right / I believe in the beat.” There are worse things to believe in.