REVENGE OF THE NINJA (1983)

 

PHENOMENALITY: *uncanny*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *sociological*

Prior to REVENGE OF THE NINJA the Cannon group issued ENTER THE NINJA, which, while watchable, is mostly notable for introducing martial-artist-turned-actor Sho Kosugi to American audiences. Kosugi had made about three films prior to ENTER, but evidently he impressed Cannon with his performance as the villain in that film, for here he's the hero. Similarly, though this was not the very first directorial role for Sam Firstenberg, it was his first martial arts movie, made about two years before Firstenberg launched the popular AMERICAN NINJA series.

Without inflating the significance of REVENGE, it does actually have a fairly tight plot in comparison with the average Cannon schlock. Since most of writer Jim Silke's cinematic outings were not all that interesting, maybe he or one of his producers decided they really wanted to expand on the mythology of the cinematic ninjas. Here we have two ninjas for the price of one-- one bad and one good-- and both of them make heavy use of all the exotic weapons associated with the medieval clans: caltrops, blowdarts, and the ever popular shuriken.

Kosugi plays Cho Osaki, one of the last members of a modern-day ninja clan in Japan. He's befriended by Braden (Arthur Roberts), one of the few Caucasians trained in ninjutsu, but a clan-feud breaks out and costs the life of Osaki's wife. Distraught, Osaki takes his young son Kane to America. He starts up an art gallery devoted to Asian art, in partnership with Braden. Though Osaki forswears the way of the ninja, he and his son continue training in the various martial arts, and even Braden's associate Cathy (Ashley Ferrare) joins them in some bouts, though it appears that she'd like to have a "bout" of a different kind with Osaki.

Braden, however, is using the gallery as cover for a heroin smuggling ring, concealing the dope in some of the art-figurines. However, Braden butts heats with local Mafia boss Chifano, who wants to ace Braden out and deal directly with the suppliers. Braden dons his ninja gear and starts killing members of Chifano's family to make the mobster capitulate. Kane witnesses Braden kill Osaki's aged mother and the boy flees for his life, and Chifano sends men to steal the dope from the gallery, thus bringing about a fight between Osaki and Chifano's goons. This "turf war" plotline is reasonably efficient about bringing the two ninjas into conflict over the good ninja's son, while allowing for the slaughter of a lot of the bad ninja's gangster-enemies.

Now, although this isn't your average Cannon film, where all the action erupts without cause to keep the audience happy, there certainly are some oddball setups. In one, Osaki and a policeman buddy randomly go looking for the missing Kane, confront a group of scummy looking layabouts in a park, and get into a fight with them, though the bums really have nothing to do with the boy. More amusingly, Braden uses ninja hypnosis on Cathy to make her capture Kane when he shows up at the Osaki dojo-- and the duel between a very skilled grade-schooler and a semi-trained grown woman is certainly not something you see every day.

Overall, the fight-scenes in REVENGE are much better than the average American chopsocky, particularly the climactic contest between Osaki and Braden. On a minor point, the credits bill Kosugi as both Osaki and "the Black Ninja," though no one calls Osaki that, and both of the ninjas here wear the same ebony attire. "The Black Ninja" is also the name bestowed on the villain of the next collaboration between Firstenberg and Silke, NINJA III: THE DOMINATION, which makes REVENGE OF THE NINJA looks like a John Ford film by comparison.