REVENGE OF THE NINJA
(R, Cannon Films/MGM/UA, 90 mins., theatrical release date: September 16, 1983)
"Eureka!" After reviewing six movies for this Cannon Films series, I've struck crude.
And boy, should I feel ashamed, because Revenge of the Ninja is a doozy with a capital F.
In case you don't know, Menahem Golan himself directed 1981's Enter the Ninja, which clearly wanted to be a B-movie introduction to the ancient Japanese practice of ninjitsu. Going back to the DVD commentary for 42nd Street Forever, Volume 3: Exploitation Explosion, which I previously invoked in The Happy Hooker Goes Hollywood, schlock scholar Chris Poggiali mentions that it was originally called "Dance of Death" and was a self-scripted vehicle for Mike Stone, a martial arts icon on the level of Chuck Norris and Bruce Lee. The production was shut down and everyone, including Stone and director Boaz Davidson, were fired, and Golan hired Italian superstar Franco Nero to take over the lead role (Stone was re-hired to be Nero's stuntman).
Even with the combined star power of Nero, British sex symbol Susan George and American journeyman Christopher George, all three of them were officially slumming by 1981. Enter the Ninja instead broke through Sho Kosugi, a Tokyo-born black belt who officially became the "Master" of his practice and the lynchpin of Cannon's entire series of Ninja action quickies, the second of which is Revenge of the Ninja.
In Golan's dreary film, Kosugi took a supporting role as Hasegawa, the arch-enemy of Nero's noble Cole ("He is NO NINJA!") who would be hired by Christopher George's Venarius to assassinate the heroes. These foes were color-coordinated to match their personalities of "white ninja" and "black ninja." Naturally, Hasegawa is vanquished and Cole achieves vengeance for the murder of his war buddy Frank Landers.
Sam Firstenberg, who was the other assistant director on Operation Thunderbolt besides Davidson to become an in-house director for Cannon in the 1980s, takes the reins here and delivers the relentless fighting and skewering which Golan tamed for Enter the Ninja. Revenge of the Ninja is beginning-to-end violent in that vicariously seedy manner which may not make the critics rave (and I'm feeling pretty half-hearted on this, myself), but gets the job done for boisterous patrons of all-night Sonny Chiba marathons.
Yes, this is a movie which Christian Slater's Tarantino-born action nerd from True Romance might love.
Incensed, Braden calls upon his extensive ninjitsu studies to declare war on Caifano's crew, assassinating picnicking henchmen and one-eyed informants with the same tools Cho has sworn off. Lt. Dime (Virgil Frye) and martial arts-trained officer Dave Hatcher (Keith Vitali) try to persuade Cho into helping them crack the case, but it will naturally take a few shady twists of fate, including the kidnapping of Kane (now a kindergartener played by Sho's real-life son, Kane Kosugi), to snap Cho out of his pacifism and confront Braden in a one-on-one battle: "Only a ninja can stop a ninja."
Cannon productions have gained cult renown for being brazenly ludicrous, and Sam Firstenberg is responsible for many of these "highlights," including Ninja III: The Domination and Breakin' 2: Electric Boogaloo. Revenge of the Ninja doesn't skimp on the insanity, from the violent prologue which lingers over the massacre of women and children to a pair of hilarious fight scenes pitting Braden's blonde moll, Catherine (Ashley Ferrare), against the father-and-son Osakis. The first, in which she attempts to seduce Master Cho, prompts this glorious exchange:
Cho: "If you want to work out, you forgot to wear pants."
Cathy: "You really think I forgot?"
Later on, after Braden activates the hypnotic eyes of his metal mask, Cathy is forced to capture Kane, who resists with instinctive force. This leads to plenty of cartwheels, high kicks and even a staff duel between them, with lots of chuckle-inducing abuse aimed towards Kane. He wins the battle with help from a concealed blade, sparing Cathy's life, but she carries him off to Braden, regardless, like an irate market patron carting off her colicky child.
Kosugi's stoic demeanor is easily the most interesting aspect of the film acting-wise, as is the perverted glee of Professor Toru Tanaka as he piles on Cathy. The rest of the cast is either blandly competent or outright amateurish between physical feats.
This is still an improvement over Enter the Ninja, though, on the basis of its liveliness, if not its aesthetics. This is a movie where young and old, American and Oriental, male and female, black, white and Latino, are counted on to raise a kung fu fist. Sho ‘nuff!
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