REVENGE OF THE NINJA (1983) Movie Poster, Original Daybill, MARTIAL ARTS
Size AU Daybill Post-War (13" x 30")
REVENGE OF THE NINJA (1983) Movie Poster, Original Daybill, MARTIAL ARTS, Starring Sho Kosugi, Keith Vitali, Directed by Sam Firstenberg is in Very Fine Condition. Movie Poster and Condition. Condition:...
REVENGE OF THE NINJA (1983) Movie Poster, Original Daybill, MARTIAL ARTS, Starring Sho Kosugi, Keith Vitali, Directed by Sam Firstenberg is in Very Fine Condition.
Movie Poster and Condition.
Condition: This Original Daybill, Movie Poster is presented in Very Fine condition, 2 Daybill folds as issued, some minor edgewear on the right hand top side, otherwise, this poster presents in excellent condition with a colourful clean presentation. This original Australian Daybill movie poster promotes one of the most recognisable martial arts action films of the 1980s. Starring martial arts legend Sho Kosugi, Revenge of the Ninja is a sought-after title for collectors of vintage ninja films, Cannon Films memorabilia and classic action cinema. Its combination of spectacular martial arts, masked warriors and high-energy action makes this original 1983 movie poster an appealing addition to a collection of vintage Australian film advertising.
Movie Synopsis
Revenge of the Ninja (1983) is a classic martial arts action film from Cannon Films, starring Sho Kosugi as Cho Osaki, a Japanese ninja who attempts to leave his violent past behind and build a peaceful life in America. Directed by Sam Firstenberg and written by James R. Silke, the film delivers a blend of family drama, criminal intrigue and spectacular ninja combat. It is the second instalment in the popular Cannon Ninja series, following Enter the Ninja and preceding Ninja III: The Domination.
The story begins in Japan, where Cho Osaki's family is brutally attacked by a group of ninjas. Cho survives the massacre, along with his young son Kane and his mother, but the tragedy leaves him determined to escape the violence that has shaped his life. With the help of his American friend Braden, played by Arthur Roberts, Cho relocates to California. Hoping to make a fresh start, he establishes an art gallery and puts aside the weapons and skills associated with his family's ninja tradition.
Cho's young son Kane, played by Kane Kosugi, is already showing an extraordinary aptitude for martial arts. When Kane demonstrates his ability to defend himself against school bullies, Cho is reminded that the family's ninja heritage cannot simply be forgotten. His mother encourages him to pass on the traditional skills, although Cho is determined that his son should understand the discipline and responsibility behind them rather than regard martial arts as an excuse for violence.
Cho's new business arrangement soon becomes a source of danger. His trusted friend and business partner Braden is secretly involved in a criminal operation, using the art gallery as a front for an illegal drug-smuggling enterprise. The imported Japanese dolls conceal heroin, and Cho gradually discovers that he has been drawn into a criminal network without his knowledge. As the situation becomes increasingly dangerous, the gangsters behind the operation threaten the life he has worked so hard to establish in America.
When betrayal and violence reach his family, Cho realises that he cannot escape his past. He must once again become the Black Ninja, drawing on his exceptional ninjutsu training to protect those he loves. His confrontation with Braden develops into a battle between two highly skilled fighters, culminating in an elaborate showdown involving rooftop combat, daring stunts and explosive action. The film's central theme is captured in its memorable attitude: only a ninja can stop a ninja.
The cast includes Keith Vitali as Dave Hatcher, Virgil Frye as Lieutenant Dime, Mario Gallo as Caifano, Grace Oshita as Cho's grandmother and Ashley Ferrare as Cathy. Kane Kosugi, Sho Kosugi's real-life son, made his film debut playing Kane Osaki. Sho Kosugi was not simply the film's leading performer; his martial arts experience also contributed to the fight choreography, helping give the action sequences their distinctive physical style.
Behind the camera, director Sam Firstenberg brought an energetic approach to the martial arts genre, while screenwriter James R. Silke developed the story around family loyalty, criminal betrayal and the conflict between traditional ninja discipline and modern organised crime. Producers Menahem Golan and Yoram Globus were the driving forces behind Cannon Films, the production company responsible for many of the era's best-known action movies.
Production began on 1 July 1982. Although the film was originally planned for Los Angeles, the production moved to Salt Lake City, Utah, where more favourable filming arrangements helped control costs. One of the film's most memorable stunts involved a simulated climb up a skyscraper. Stunt coordinator Steven Lambert used a cable and harness system to create the appearance of climbing the building's exterior. The climactic rooftop sequence required considerable planning, mechanical rigging, pyrotechnics and specialist camera work. Released in September 1983, Revenge of the Ninja became an enduring favourite among fans of 1980s martial arts action, helping establish Sho Kosugi as one of the genre's most recognisable screen ninjas.
To find out more about Revenge of the Ninja (1983) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.