Ninja in Ancient China (1993) Review

“Ninja in Ancient China” DVD Cover

AKA: The Prowess
Director: Chang Cheh
Cast: Tung Chi-Wa, Mu Li-Xin, Lin Ying-Jun, Chen Die-Yi, Chan Yee-Gong, Cheng Ya-Lin, Du Yu-Ming Guo Jun, Wan Man-Ying, Chu Ka-Lung, Wu Tian-Yun
Running Time: 92 min.

By Paul Bramhall

After spending almost 20 years working exclusively for the Shaw Brothers studio, director Chang Cheh had rightfully earned his moniker of the Godfather of the Kung Fu Film. In 1983 he made his final movie under the SB banner at the age of 60 and, rather than retire, Cheh temporarily began working in Taiwan with the Venoms, a group of performers named after his 1978 production The Five Venoms. During the 80’s many of the performers who’d worked with Cheh over the previous 2 decades came together to feature in a trio of movies, made purely with the intention of raising enough funds so that their former mentor could retire comfortably. The Shanghai Thirteen and Death Ring both landed in 1984 with Cheh still at the helm, and in 1989 John Woo and Wu Ma threw together Just Heroes, but alas it was all to no avail.

Despite failing health, Cheh was determined to direct 100 movies, and in 1986 he set up shop in Mainland China, putting together a crew who’d continue to work with him through to his eventual retirement in 1993 at 70. Tung Chi-Wa, Mu Li-Xin, and Du Yu-Ming, all talented wushu practitioners, became Cheh’s go-to leading men in the sunset days of his career, which sometimes sees them referred to as the Baby Venoms. From 1986 to 1993 Cheh was able to crank out his final 6 movies, and Ninja in Ancient China would be his last, landing in 1993 like the equivalent of a Victorian era gentleman arriving to a rave party.

In a year when the new wave wuxia was still in full swing, with titles like Kung Fu Cult Master, Blade of Fury, and The East is Red populating cinema screens, Ninja in Ancient China feels like it could well have been made in the mid-70’s thanks to its look and feel. Recycling themes from numerous earlier productions, the most obvious one being 1982’s Five Element Ninjas, the story concerns 5 orphan ninjas who’ve been raised by a Taoist master to do good in the world. Set in a time populated with power hungry warlords vying for power, making peace seems like a distant prospect, and when a warlord played by Tung Chi-Wa (Slaughter in Xian, Kung Fu Hustle) rides into town, proceedings take a turn for the worst. Executing the Taoist master, played by Chan Yee-Gong (who’s only other role is in Cheh’s Cross the River), on the accusation of using outlawed sorcery, the ninjas formulate a plan to take their revenge.

Also like in Five Element Ninjas, each one is trained in the five elements. Du Yu-Ming (Great Shanghai 1937, Little Big Soldier) represents earth, meaning he can burrow underground in a way which is aesthetically closest in feeling similar to the new wave wuxia’s of the time. Cheng Ya-Lin represents wood, allowing him to claw his ways up trees, and attack from above. Wu Tian-Yun represents fire, which apart from meaning he has some cool red streaks in his hair, also allows him to throw fireballs at his enemies. Mu Li-Xin (Journey to the West, Hidden Hero) represents gold in the lamest of the elements, reduced to using mirrors and, before any fight, taking the time to place them in strategic positions so light can be reflected to blind the enemy. Lastly Lin Ying-Jun represents water, the only female of the group, and as expected she can travel underwater using a trusty bamboo airpipe to attack unexpectedly.

Notably, outside of Cheh’s latter era regulars of Du Yu-Ming and Mu Li-Xin, Ninja in Ancient China is the only credit in the filmographies of Chang Ya-Lin, Wu Tian-Yun, and Lin Ying-Jun. Li-Xin and Ying-Jun’s gold and water ninjas are a couple, and the decision is made for them to infiltrate Chi-Wa’s inner-circle, staging a fight against a would-be assassin so as to earn his trust. Soon Li-Xin becomes Chi-Wa’s trusted bodyguard, to be at his side at all times, and Ying-Jun is assigned to a similar role for his concubine. So you might think the stage is set for the ninjas to strike against the evil general and go down in a hail of slow motion and fake blood. Well, that trail of thought would be partly right.

Perhaps the most interesting thing about Ninja in Ancient China is that Tung Chi-Wa’s general isn’t portrayed as being particularly villainous at all. Sure, he kills the Taoist master, but outside of that he seems to be an honourable and generally stoic fellow who’s destined to complete the work his father couldn’t. All his concubine wants is for him to settle down and live in peace so they can start a family, but he feels bound by duty and has no time for such things. However – this is a Chang Cheh movie! Once Li-Xin becomes his bodyguard, the pair appear to develop a mutual admiration for each other, potentially throwing a spanner in the works when it comes to revenge, and making everything feel a little A Frozen Flower-esque, only 15 years earlier! 

Say what you want about the homoeroticism that some argue permeates Cheh’s work, for me personally in his Shaw Brothers productions I feel it can largely come down to the viewers interpretation. In his final Mainland shot movies, things are much more clear cut, from the slow motion rolling around set to a romantic score found between the leading men in Slaughter in Xian, to what we find going down here in Ninja in Ancient China. While Cheh fervently denied being gay, I’m sure if I was to show either this or Slaughter in Xian to any of my gay friends, there’d be no doubt that they’d say the characters being portrayed are homosexual (disclaimer: this is just a theory, as I’ve yet to convince any of my gay friends that watching an old-school kung fu movie would be an enjoyable experience. Their loss.).

Despite the admiration between the pair, several assassination attempts do take place, reverting to that tried and tested Chang Cheh formula of “if at first you don’t succeed, try try again” (perhaps no more better represented than in the crossing the bridge scene featured in The Deadly Duo). All of this of course results in the exact reason many of us clock into a Chang Cheh movie – the fights! On that front, Ninja in Ancient China delivers the goods. Tung Chi-Wa is also on fight choreography duty, here clocking in his only solo choreography credit without the assistance of Du Yu-Ming and Mu Li-Xin, and indeed the last time he’d take on choreography duties in his filmography (after Ninja in Ancient China, we’d need to wait 11 years to see Chi-Wa again, when he re-appeared as Donut in Kung Fu Hustle).

The fights are notably faster and more high impact than we’re used to seeing in a Chang Cheh movie, and while nothing about Ninja in Ancient China really feels like 1993, the choreography at least is a step up from the era it feels like it comes from. Despite Li-Xin being straddled with the lamest ninja skill, he gets several opportunities to strut his talents, and he clearly has the moves. Taking a cue from Cheh’s early 70’s Shaw Brothers output, the majority of the fights have either one or all of the ninjas taking on a small army of attackers out to kill them, giving each battle a welcome sense of urgency (and for the most part a seamless flow of exchanges). While some kung fu cinema fans don’t enjoy the wushu flourishes that are always a part of Mainland choreography from this era, here the acrobatics are incorporated well, and feel like a natural part of the fights rather than unnecessary showboating.

Like all of Chang Cheh’s Mainland productions, there are times that feel incredibly cheap, especially during the opening when we see a toy boat bobbing up and down in the water, which we’re supposed to believe is the real thing. However despite the lack of budget, there’s enough energy on display here to make Ninja in Ancient China a recommendation for any fan of the Godfather of Kung Fu. Every time you see a character get hit by a countless number of arrows but keep on fighting, watch blood liberally gushing from the strike of a sword, or die in glorious slow motion, it feels slightly bittersweet knowing that this was the last time we’d witness such tropes from a true master of the form. Ninja in Ancient China is unlikely to make someone a Chang Cheh convert, but if you’re already a fan, then it’s undeniably required viewing.

Paul Bramhall’s Rating: 6/10