The generic title to this obscure Mainland Chinese-Japanese co-production from the makers of SOUTH SHAOLIN MASTER and ARHATS IN FURY is a fitting suggestion of the challenge it faces in attracting potential viewers. NINJAS AND DRAGONS lacks any sizable star power, while an awkwardly structured story with more comic and fantasy oddities than fighting thrills through much of the first hour only manages to finally find its footing towards the end.

The movie is an awkward attempt to recreate the success of producer Ng See-yuen’s NINJA IN THE DRAGON’S DEN (1982). Ng’s film brought a young Hiroyuki Sanada (THE LAST SAMURAI) to Hong Kong for an entertaining mix of stylized ninjitsu and kung fu action, all masterfully directed by Corey Yuen and co-action director Meng Hoi. Unable to get Sanada for their mainland production, Nan Hai Film Co. nabbed Junya Tagaki, another member of Sonny Chiba’s Japan Action Club. They also recruited a number of experienced Japanese stuntmen and choreographers, led by Kazuyuki Saito. This team likely handled the horseback riding as well for Yukio Someno, one of the stuntmen involved, is a Shaw Brothers veteran who doubled many of the old Chang Cheh movie actors whenever horseback riding was involved.

The plot revolves around a young ninja named Hayate (Junya Tagaki) who has arrived in China to track down and kill a demon-masked ninja responsible for the death of his father. It isn’t made clear initially, but the ninja killer is now working for villainous Mongol General Hurasi by helping him to break through a blockade by patriot Liang Zhenwei in order to bring much needed supplies to an invasion force. Also working for the General is a bizarre trio of fighters consisting of two men dressed in drag, one as a devious granny and the other as a square-jawed servant, along with a child-like dwarf who practically vanishes at will.

After an initial introduction where Hayate has a run-in with a perverted pickpocket (who we meet again later), the focus shifts to Zhenwei’s daughter Ching and her husband-to-be Lin Feng. (For whatever reason, she initially pretends to have leprosy while he pretends to make a treatment from his own blood. That’s one mating ritual I haven’t heard of.) In an attempt to force Zhenwei to cooperate, Hurasi kidnaps his daughter. Despite his ninja skills, Hayate is also captured by Hurasi’s men, but later set free by Lin Feng. The two heroes team up to rescue Ching and they almost succeed during a swap on a rope bridge. But they all quite literally fall into a trap. Left holding ropes that will bring down a cauldron of hot oil on whoever looses their grip, Hayate and his Chinese friends have only one chance to make their escape, stop the supplies from getting through and defeat the ninja killer.

The production bares all of the strengths and weaknesses of typical Mainland Chinese martial arts movies from the 1980s. The settings are expansive, where generous use is made of picturesque locales such as the Great Wall and other geographical and historical sites of interest. Costume quality varies. The clothes worn by supporting cast and extras look good, while most of the main characters look like they’ve stepped right out of either a circus or a contemporary wushu competition.

As a co-production with Japanese talent, the film contains foreign influences not usually found in Mainland productions. The soundtrack on the Mandarin-language audio track has a contemporary vibe that is reminiscent of what’s heard in Japanese period films of the mid-’80s. There is some Japan Action Club-style stunt work, from the combat on horseback to a rope bridge fall.

Of course, all the ninja action in the movie is heavily influenced and devised by Japanese stuntmen. Love it or hate it, but it’s the style that relies on more editing, special effects and acrobatic gimmicks than pure fighting and sneaking techniques. Expect to see some excessive undercranking (sped up action) when it’s not needed and ninjas that disappear into thin air or burrow underground. As campy ninja action goes, it’s not very creative like Robert Tai’s work but fairly well executed.

As the ninja hero, Junya Takagi is little more than a clone of Hiroyuki Sanada. He dresses the same, acts the same and goes through some of the same physical routines we’ve seen in Sanada’s films. To be fair, they both come from the same stunt team and Junya may have intentionally been groomed to follow in Sanada’s footsteps. But in this film he looks more like a beta version of Sanada and never shows any sign of distinction. His Chinese co-stars are adequate for their roles. The only memorable performance comes from an actor playing one of the General’s men. He provides both the comic relief and drama as a wannabe kung fu master at odds with a mischievous dwarf. He’s also a good-hearted villain who puts his life on the line to protect the kidnapped girl.

What saves the otherwise forgettable NINJAS AND DRAGONS is the showdown at the end. It seems as though the stunt team and actors saved up all their good stuff for this fight. The choreography has been pretty routine and limited up to this point, but it suddenly ramps up to very impressive levels. There is a lot to take in for about ten minutes, including varied weapons handling, group fighting, more ninja-style trickery, and even some wrestling with the addition of a suplex finishing move. But the star attraction is the actor playing Lin Feng. He unleashes some brilliant spin and reverse-spin kicks, as well very capable nunchaku handling.

NINJAS AND DRAGONS is a short movie, but feels longer due to its dull plot, rehashed ninja conventions and lack of engaging acting performances. The movie is especially in need of a real star as Junya Takagi is unable to meet the challenge and is given few opportunities as is. A bit of humor, villainous quirks and a wicked action climax with excellent wushu fighting are about all this feature has to offer, which is still more than a lot of lesser genre films can boast.

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