I don’t want to sound like an old man but sometimes it’s hard to explain the kind of stuff we watched as impressionable young minds in the 1980s. It’s so different to what teenagers watch nowadays, it might as well have come from another planet. However, in Ninja’s Force (1984), I reckon I’ve found a film that distills it; you could show this to kids in 2018 and say “Yep, this is what we were into”… I mean, it’s unlikely they’d enjoy it. They’d be horrified and confused. They may even take out a restraining order on you. But they’d get an idea of the kind of film that, for better or for worse, simply isn’t made any more. It’s ostensibly a film for adults, loaded with sex, violence and bad language yet it’s so child-like in its storytelling, it could have been written by a 12 year old. These movies had us spellbound because they were, at once, on our level and yet full of forbidden things we shouldn’t have been exposed to. They were low-budget beyond even what mainstream film fans would call “B-Movies”. They were “Z-Movies”. Some of the technical aspects may have been outrageously bad, but still they could afford real explosions, stunts, helicopters and exotic locations – which, let’s face it, are the important things. The weirdest thing of all was that we weren’t going out of our way to seek these films that are now so obscure. We weren’t connoisseurs. They were right there on the shelves alongside Rambo, Cobra, Enter The Dragon and all the ‘real’ films. It was the boom years of home entertainment and ANYTHING could sell on VHS. They were essentially cash-ins on a phenomena. And yet, here we are in 2018, three decades later, and I’m still writing about them. They had something. It was an interesting time to discover film.
So, Ninja’s Force then. It was one of many action flicks made in the Philippines by Silver Star, a production company run by the mysterious KY Lim, who pumped out a few dozen features throughout the 80s and 90s. He assembled a regular group of directors, writers and stars, who rotated their duties, with everyone having a go at everything, giving the films a sense of camaraderie if nothing else. Since they had little money (and, according to ninja veteran Richard Harrison, sometimes unfinished scripts) the results veered from atrocious to entertaining but Ninja’s Force is a strong one. A real team effort, it starred Spanish sex symbol Romano Kristoff who co-wrote with Ken Watanabe (not that one) and co-directed with Teddy Page (aka Teddy Chiu). Interestingly, it shares a lot of plot similarity with Ninja Warrior (1985), a Silver Star picture directed by Watanabe that’s nowhere near as good…
Both open with a ninja housebreaking but in this one, the ninja means business. He kills a handful of security guards then slices up an old man, steals a TOP SECRET DOCUMENT (clearly marked as such) and chops up the guy’s disabled daughter for good measure, sending a blast of red arterial spray into the camera – which then artfully fades to the credits sequence (all to some stolen music from Blade Runner – phew!). We then see a senator lecturing the local police force about their inability to solve the crime. Public opinion is down, they can’t find any clues and the senator reckons there’s only one thing for it. “If you agree,” he tells them, “I’ll hire the most deadly, cold and deadly man alive… a ninja!”
Surprisingly, they’re all okay with this so he sends his top two dudes to Japan to find said ninja. They get given a guide who knows the way to the Kōga-ryū and drives them out to the middle of a forest, then walks them deeper into the trees, sits down, lights a fire and tells them to wait. In the middle of the night, just when it’s starting to seem like a waste of time, they hear a rustle in the bushes and – for reasons unfathomable – one of the cops stands up and pulls out a gun, only to get struck down by ninja arrows. I mean, really. WHAT WAS HE EXPECTING? The guide gets an arrow to the heart for his troubles too (apparently standard practice for anyone who knows the way to the Kōga-ryū), leaving the second cop, Williams (Mike Monty), to get a sack pulled over his head and a knockout blow.
He wakes up inside the Kōga-ryū, surrounded by ninjas. The ninja master asks why he’s come and, after hearing the story so far, eventually consents to lending him “the ultimate ninja”. Why? Because “a true ninja’s responsibility is to make harmony in this world”, of course. Duh. The ultimate ninja is a guy called Kenzo (Romano Kristoff, not Japanese) who flies back to the Philippines with Williams. ready to save the world. Williams has a sexy sister called Laura (Gwendolyn Hung), who has an equally sexy friend (Jeselle Morgan). They like to hang out in their giant house, giggling about ninjas and how excited they are to meet a real one. When Kenzo shows up, they try tricking him into revealing his ninja powers by setting up a dinner party where they’ve secured buckets of water over the door and booby-trapped chairs. He doesn’t, obviously, because he’s the ultimate ninja, but the whole scene is an admirably bizarre one. Definitely the only giggly ninja dinner party farce I’ve seen.
MEANWHILE, EVIL SCIENCE IS HAPPENING:
There’s a guy called Professor Yamamoto (Ken Watanabe) who is working for a cocktail-slurping baddie called Mr Duncan (Tony Carreon) on some dark shit that involves kidnapping women, tying them up, taking their clothes off and pumping them full of drugs until they go mad. At first I wondered if this was just because it was the 80s and that’s what passed for science back then, but no. There is a twisted logic to it. Duncan likes quoting Timothy Leary and experimenting with LSD. His plan is to give people just the right amount of LSD that he can break their mind and turn them into zombies who obey his commands, building an army that will take over the world. The TOP SECRET DOCUMENT from earlier apparently contains a formula that’s expedited their work. Things are going well:
And that’s your plot. It takes about 40 minutes before it coheres but does pull off telling a story from start to end (not always a given in these films) and it’s an enjoyable one too. Despite some occasionally dark subject matter (including some attempted rape on the LSD zombies and a gratuitous alleyway attack on Laura that gets broken up by Kenzo, Death Wish style – why? Because it’s the 80s!), most of this is done with a sense of fun. For example, there’s a scene where Williams’s car explodes that’s a classic. He and Kenzo leap out of the moving vehicle, just seconds before it blows up (a seriously impressive stunt all done in one take) then, with the car still flaming in the background, they stand up, brush themselves down and shrug it off. “There goes my car!” laughs Williams.
In what must be a nod to The Last Ninja (1983), Kenzo adopts an array of flamboyant disguises, including an elderly fisherman and a Princess Diana style “lady”, all of which is a reminder that despite stilted acting from some of the cast here, Kristoff is actually quite a talent. He has a decent look for an action hero, uncanny comic timing and natural charisma that makes him a good lead.
In terms of the ninjing (which is what we’re here for), there is substantial payoff if you have patience. Laura gets kidnapped and taken to Mr Duncan’s ruinous Spanish monastery on an island (another example of shrewd location scouting), so it’s up to Kenzo to save both her and humanity. He straps on his ninja suit – with a perplexingly conspicuous silver headband – and ninjes it up big style, hacking and slashing his way through the guards, lopping off arms and doing some rough martial arts work. The fight scenes here are not gracefully choreographed but they have charm. They feel a bit like the fight scenes you might shoot with your mates when you’re 12, on your dad’s camcorder. Lots of striking stances then flinging each other around and shouting. The whole thing wraps up with a catchy one-liner (“Who are you?” / “I am your executioner!”), a bloody decapitation and a ninja chase through a dungeon that looks like it’s been lit by Mario Bava.
Or does it? There’s a surprise coda, just when it looks like the day has been saved. Kenzo announces he must face his destiny – “the ninja creed of death!” – which gives us a bonus fight on the beach, during which the two ninjas involved take off their masks and stick on natty headbands instead. Why headbands? Because it was the 80s, of course! Headbands were the coolest thing in the world.
So yeah, Ninja’s Force might not be a ‘good’ film in technical terms (although, frankly, I’d like to see you do better). Some scenes are undeniably, hilariously bad (“Apologies are the sunshine after the hurricane… beautiful but useless!”) and yet it’s entertaining from start to finish. It has energy, enthusiasm and a checklist of stuff you want if you’re a ninjologist of a certain age. This is, after all, a genre rooted in what’s commonly known as “trash” cinema so if you’re not getting any joy out of a Spanish ninja with expressive eyebrows, LSD zombies, shameless nudity and a body count well into the double figures, then I’m not sure you’ve come to the right blog.