I'm actually not going to spend much time critiquing the plot. The poorly translated subs on the print make the storytelling nearly critique-proof. Its pretty difficult to accurately assess the films story when you have such puzzlers as, "We fear natural disturbate. We no longer take on learners." to decipher as well as the word "folks" dropped about twenty times when referring to someone who is a friend, clan member, etc. However, dialog debacle aside, awkward transitions do reveal that meaty plotting wasn't exactly the first thing on their minds. Its really all about the ninja razzle dazzle.

Taoist Yu is a good man, providing medical herbs and general medical care for the poor townspeople and a good dose of ninja training to his gaggle of students. Trained in ninja techniques related to the major elements, Wind, Fire, Water, Wood, and Metal, he discourages them from getting too involved in the warlord feuding that dominates the land.

But, an ambitious General Suen-Chak is making waves and Taoist Yu's students get involved, at first training some rebels, then actually taking part in assassination attempts. After Taosit Yu is killed, they all marshal their talents to seek revenge. However, the duo that infiltrates Suen-Chak's inner circle begin to feel sympathetic to the warlord, throwing a wrench in the five element ninja's thirst for revenge.

Ninja in Ancient China is interesting mainly due to its quaintness. When it was made, the modern, stunt crazy martial film and the John Woo bullet ballet gangster/crime flick (two genres that usurped the old school kung fu flick) were still all the rage, plus, the wire fu, heavily stylized martial films were just starting to take off.

Though it obviously riffs on his hallmark Chinese Super Ninjas, Ninja in Ancient China is decidedly seeped in the old school, largely lacking even the outlandishness of Chang Cheh films like 9 Demons and Heaven and Hell. Of course, it is grounded due to budgetary restrictions, and in place of those theatrics he does get to play out in the open air and make use of natural locales, an area where the Shaw's usually left their directors confined to the studios outer lots and interior sets. Different, sure, but I don't think its an equal trade off by any means. Give me the interior sets and more elaborate choreography and fx of the studiobound Chang Cheh any day.

The film has no shortage of action, nice sets, colorful costuming, a good crew of performers, and the final third delivers with some entertaining fight scenes. But, as a hardcore fan, you still get the sense that, removed from his comfort zone, removed from the era in which he flourished, Chang Cheh wasn't exactly firing on all cylinders. An old workhorse, still plugging along, still proving he could deliver, but detached from the wellspring (and support) that made him great.

Choosing to go literally operatic by using Peking Opera performers as possibly a way to make Shaw Brother's reclaim audiences Golden Harvest and their star players had claimed, a distinctly different style of action because of it and lack of the strong depth that was a showcase in his prior classics, of course a choice after you've depleted yourself on the market is still a choice you can't turn your back to as a viewer before you've even judged. But it's a judgment based on a personal opinion, an emotional response if you will that made undersigned not so much develop a hatred but generally feeling nothing after watching the likes of The Five Venoms and Flag Of Iron. Talky, plastic and despite that sounding rather offensive, it's all simply not my preference and it's continued on, both on a pre-conceived level in all honesty and after having experienced firsthand. So Shaw Brother's wound down in popularity the bigger the likes of Jackie Chan and Sammo Hung became and Chang Cheh found himself working with government support in Mainland China partly. Ultimately flexing less creative muscles than before, among other things he gave the world the all star showcase (new and old) of Shanghai 13, the echo of Shaw Brother's glory past in the form of Hidden Hero and modern action/opera techniques plus a little bit of extreme gore in Slaughter In Xian. Eventually at the very tail end of his career after ups and downs financially, Ninja In Ancient China concluded his career. Ninjas you say...and by the way, have I over explained myself yet? I tend to do that.

But at any rate, I find it deeply interesting this often overlooked and not often written about Mainland period of Chang Cheh's life. Not because of one gleefully wanting to see the man fail but simply the need and desire to experience an unseen development. A rise and a fall is as important to embrace, just like darkness should never be turned away from. It's supposed to be explored in a way. Here in yet another ninja exploration as seen in the wildly beloved Five Element Ninja by Chang Cheh, it's more or less a re-thread of similar ideas readily available in that feature. And by populating the running time with the titular ninjas, you have yourself somewhat acceptance because Chang Cheh's knew to tap into yet another kind of emotional response...MINE! Plot is easy enough to not waste time in its own paragraph. As their Master Yu (Chen Er-Gang) is killed, his students want revenge...

With classic structure and style, Chang goes to work by educating audiences about the 5 elements of the ninja art: Metal, Wood, Water, Fire and Earth, all represented by a specific colour so no easy cloaking for our Wood in green then. In a fast and furious opening reel, techniques are demonstrated, some of which are very familiar (ninjas under water, under soil....that kind of a thing) and a fair positive feeling lies over Chang's low-budget creation. On a more deeper level, he continually references that Japan utilizes same techniques as presented here and if he's a firm believer the ninja is exclusively Chinese and therefore stolen is difficult to say but worth pondering.

Featuring a talky but more easily accessible story than what was presented in Hidden Hero for instance, our ninjas are merely trying to restore the world into a peaceful one but evil Generals wishing for dominance as always stand in the way. Patriotism painted in blood mostly but one interesting aspect to Tung Chi-Wa's (1*) General Suen-Chuk is the fact that he has a woman waiting (foolishly) for him to retire and become the everyday man. Way too deep into the power-hungry world obviously, all this takes place on numerous stages that look impressive but long way off Shaw Brother's smoothness so that makes Chang's players feel very much crudely pasted in. But deeper, old ideas are sound and of course Master Yu is advocating his students to use their techniques sparingly and not rush into impulsive behaviour. Even after his death, the students stay with the frame of mind that tactics needs to be used. Undercover tactics, deception and hence adhering to elements found in ninja history.

But history doesn't necessarily interest Chang Cheh (despite echoing written works and actual historic events, as you'll learn in the dvd commentary) as Ninja In Ancient China takes us on the action-ride more than anything. Sure, some canned romance and melodrama in his trademark gory surroundings are not thoughts that would ever escape Chang Cheh but from a viewer investment stand point, there's none for characters. Especially not when proceedings turn awfully talky and lacking spark compared to the opening. But for all its ropey execution in the action stakes (mainly talking choppy wirework and a general low-budget feel), Chang Cheh's acrobatic players respond well to the mix of grounded acrobatics as well as when the high flying techniques are in need to be flashed. Because flashy it is and overall a solid nature to the choreography manages to break through the crude frame to lead Ninja In Ancient China into the verdict of a fairly fun finish from a legend that could never make his past reputation vanish, even if you liked only part of his filmography. Thanks for the the moving images, Chang Cheh.

(1) The acclaimed Peking Opera performer that became Chang Cheh's leading man and action director during his Mainland period. Tung later received international exposure for his role of Donut in Stephen Chow's Kung Fu Hustle.