Pray for Death (1986)

R | 92 mins | Adventure | 28 February 1986

Director:

Gordon Hessler

Writer:

James Booth

Producer:

Don Van Atta

Cinematographer:

Roy H. Wagner

Production Designer:

Adrian Gorton

Production Company:

Pray For Death Productions, Inc.
Full page view
HISTORY

According to production notes in AMPAS library files, lead actor Sho Kosugi co-starred with his own sons, eleven-year-old Kane, and nine-year-old Shane. Both boys had been schooled in martial arts since they were toddlers. Reportedly, Kosugi incorporated aspects of ninjitsu in film stunts. Known as “the art of invisibility,” ninjitsu had been outlawed since the 17th century in Japan. Kosugi noted that he was grateful the picture’s shooting schedule allowed him the necessary time to set up complex action sequences such as executing a dangerous backflip across a moving truck.
       A 21 Nov 1984 DV production chart announced that principal photography got underway 5 Nov 1984 in Houston, TX. Articles in 8 May 1984 DV and 31 Dec 1984 HR stated that the $6.8 million movie resumed filming on 14 Jan 1985 in Los Angeles, CA, after six weeks on location in Houston.
       Trans World Entertainment is listed as Transworld Entertainment in opening credits. According to the 14 May 1985 HR, the company screened Pray For Death for foreign distributors at the Cannes Film Festival on 10 May 1985. The film at that time was 123 minutes long and listed as unrated, despite its unsuccessful appeal of the Motion Picture Association of America’s X-rating, according to the 1 Aug 1985 DV. However, when the final R-rated version was released, the length had been trimmed to ninety-two minutes.
       End credits contain the following acknowledgments: “Our Special Thanks to: Lykes Bros. Steamship Co., Inc., Modern Videofilm, Bank Leumi.” ...

More Less

According to production notes in AMPAS library files, lead actor Sho Kosugi co-starred with his own sons, eleven-year-old Kane, and nine-year-old Shane. Both boys had been schooled in martial arts since they were toddlers. Reportedly, Kosugi incorporated aspects of ninjitsu in film stunts. Known as “the art of invisibility,” ninjitsu had been outlawed since the 17th century in Japan. Kosugi noted that he was grateful the picture’s shooting schedule allowed him the necessary time to set up complex action sequences such as executing a dangerous backflip across a moving truck.
       A 21 Nov 1984 DV production chart announced that principal photography got underway 5 Nov 1984 in Houston, TX. Articles in 8 May 1984 DV and 31 Dec 1984 HR stated that the $6.8 million movie resumed filming on 14 Jan 1985 in Los Angeles, CA, after six weeks on location in Houston.
       Trans World Entertainment is listed as Transworld Entertainment in opening credits. According to the 14 May 1985 HR, the company screened Pray For Death for foreign distributors at the Cannes Film Festival on 10 May 1985. The film at that time was 123 minutes long and listed as unrated, despite its unsuccessful appeal of the Motion Picture Association of America’s X-rating, according to the 1 Aug 1985 DV. However, when the final R-rated version was released, the length had been trimmed to ninety-two minutes.
       End credits contain the following acknowledgments: “Our Special Thanks to: Lykes Bros. Steamship Co., Inc., Modern Videofilm, Bank Leumi.”

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
8 May 1984
p. 18
Daily Variety
21 Nov 1984
p. 12
Daily Variety
1 Aug 1985
p. 3
Hollywood Reporter
31 Dec 1984
---
Hollywood Reporter
14 May 1985
---
Hollywood Reporter
21 Nov 1985
p. 3, 13
Los Angeles Times
28 Feb 1986
Calendar, p. 11
Variety
22 May 1985
p. 32
CAST
NAME
CREDITED AS
CREDIT
Starring in
Starring:
as Limehouse
Donna K. Benz
as Aiko
as Lt. Anderson
as Sgt. Daley
as Sam Green
as Koga
and
starring as Mr. Newman
+

PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
An American Distribution Group Release
Transworld Entertainment Presents
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
Unit prod mgr/1st asst dir, Addl crew Los Angeles
2d asst dir, Addl crew Los Angeles
PRODUCERS
Assoc prod
Exec prod
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
2d unit dir of photog
Key grip
1st asst cam
1st asst cam
Gaffer
Best boy elec
Fred Vicarel
Best boy grip
2d asst cam
Elec
Elec
Generator op
Still photog
2d unit cam asst
1st asst cam, Addl crew Los Angeles
Best boy/Dolly grip, Addl crew Los Angeles
Gaffer, Addl crew Los Angeles
Best boy, Addl crew Los Angeles
Sharon M. Beard
Still photog, Addl crew Los Angeles
Asst cam, Addl crew Los Angeles
Rigging grip, Addl crew Los Angeles
ART DIRECTORS
Art dir
Asst art dir
Asst art dir, Addl crew Los Angeles
FILM EDITORS
Asst ed
Negative cutting
SET DECORATORS
Set dec
Prop master
Const coord
Key painter
Asst painter
Const asst
Prop asst
Prop master, Addl crew Los Angeles
COSTUMES
Cost supv
Asst costumer
Asst costumer
Spec cost
Cost supv, Addl crew Los Angeles
Martial arts costumes
MUSIC
Mus comp and cond
Mus comp and cond
Mus mixer
Mus prod coord
SOUND
Dial ed
Prod sd mixer
Boom op
Sd mixer, Addl crew Los Angeles
Boom op, Addl crew Los Angeles
Re-rec mixer
Re-rec mixer
Re-rec mixer
ADR facilities
Prod sd transfer
Sd eff ed
Post-prod voice-overs
VISUAL EFFECTS
Spec eff supv
Spec eff asst
Spec eff asst
Main title des
Main title des
MAKEUP
Makeup artist
Makeup asst
Makeup asst, Addl crew Los Angeles
PRODUCTION MISC
Exec in charge of prod
Casting
Scr supv
Transportation capt
Transportation co-capt
Financial dir
Financial dir
Prod coord
Prod coord
Prod accountant
Asst prod accountant
Loc mgr
Prod secy
Extras casting
Extras casting
Teacher/Social worker
Set nurse
Driver
Charles Griffith
Driver
Driver
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Craft services, Addl crew Los Angeles
Sound stage, Addl crew Los Angeles
Insurance
STAND INS
Martial arts choreog by
Asst martial arts choreog
Martial arts asst
Martial arts asst
Martial arts asst
Martial arts asst
COLOR PERSONNEL
Col timer
Col by
SOURCES
SONGS
"Back To The Shadows," sung by Peggy Abernathy.
PERFORMED BY
DETAILS
Release Date:
28 February 1986
Premiere Information:
Los Angeles opening: 28 Feb 1986
Production Date:
began 5 Nov 1984
Copyright Info
Claimant
Date
Copyright Number
Pray Productions
12 September 1985
PAu795600
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Lenses
Panaflex® camera & lenses by Panavision®
Duration(in mins):
92
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
27870
SYNOPSIS

In Japan, American-born Aiko Saito convinces her Japanese husband, Akira, to accept a business opportunity in the United States. Before leaving, Akira Saito visits Koga, the priest who adopted him and his orphan brother, Shoji. In the past, Akira Saito found Shoji stealing from the temple, and accidentally killed him. Koga advises Akira to work through the guilt or it will consume him. Akira refuses to take a sword that Koga gives him as a keepsake, but accepts a ninja warrior helmet instead. Koga insists that he cannot escape his destiny, and Akira swears that he will keep his ninja identity a secret until death. Akira and Aiko relocate to Los Angeles, California, with their sons, Takeshi and Tomoya. They purchase a hotel and restaurant property from Sam Green in a shabby part of town. As Sam shows them the premises, he does not realize that a ring of jewel thieves is using a shuttered tobacco shop on the property to hide their loot. Later, one of the thieves pretends to place an expensive Van Atta diamond necklace under the floorboards, but pockets the jewelry instead. As Sam leaves to start his retirement in Atlantic City, New Jersey, the thieves force him to detour to a deserted part of town because they believe he stole the Van Atta necklace. When Sam claims to know nothing about it, they beat him unconscious and set him and his car on fire. Gang leader Mr. Newman confronts associates about the missing necklace, but none know its whereabouts. As Takeshi Saito fights a gang of boys to prevent them from stealing the brothers’ bicycles at the corner market, Limehouse Willie, one of Mr. ...

More Less

In Japan, American-born Aiko Saito convinces her Japanese husband, Akira, to accept a business opportunity in the United States. Before leaving, Akira Saito visits Koga, the priest who adopted him and his orphan brother, Shoji. In the past, Akira Saito found Shoji stealing from the temple, and accidentally killed him. Koga advises Akira to work through the guilt or it will consume him. Akira refuses to take a sword that Koga gives him as a keepsake, but accepts a ninja warrior helmet instead. Koga insists that he cannot escape his destiny, and Akira swears that he will keep his ninja identity a secret until death. Akira and Aiko relocate to Los Angeles, California, with their sons, Takeshi and Tomoya. They purchase a hotel and restaurant property from Sam Green in a shabby part of town. As Sam shows them the premises, he does not realize that a ring of jewel thieves is using a shuttered tobacco shop on the property to hide their loot. Later, one of the thieves pretends to place an expensive Van Atta diamond necklace under the floorboards, but pockets the jewelry instead. As Sam leaves to start his retirement in Atlantic City, New Jersey, the thieves force him to detour to a deserted part of town because they believe he stole the Van Atta necklace. When Sam claims to know nothing about it, they beat him unconscious and set him and his car on fire. Gang leader Mr. Newman confronts associates about the missing necklace, but none know its whereabouts. As Takeshi Saito fights a gang of boys to prevent them from stealing the brothers’ bicycles at the corner market, Limehouse Willie, one of Mr. Newman’s hoods, kidnaps Tomoya, the younger boy. As Takeshi returns home with a bloody face, the hoods telephone and demand that Akira Saito return the Van Atta necklace to Pier 24 at midnight or Tomoya will be killed. Akira finds some clues when he searches the former tobacco shop. At the pier, Newman’s hoods handcuff Akira, who reveals that the man who took the necklace wore a gray suit and was left-handed. Limehouse Willie does not believe him. He threatens to burn Tomoya with an acetylene torch, but father and son employ their martial arts skills to escape. Mr. Newman orders his men to execute Akira. At the police station, Akira identifies Limehouse Willie from a photograph and agrees to help police catch the gangster if they protect his family, but a corrupt officer named Sergeant Daley passes the news on to Newman. As Tomoya and Aiko chase a soccer ball in the street, Newman’s thugs hit them with their car. After mother and son leave in an ambulance, Akira recognizes Newman’s men, who have returned to the crime scene, and chases after them. He climbs onto the back of the truck and causes the driver to crash, killing Newman’s men. At the hospital, Aiko is badly bruised, but will survive. When Akira returns to the waterfront to confront Limehouse Willie, he knocks out two-dozen men, cuts the power, and demands that the gang stop intimidating his family. When the lights come back on, Akira is gone. Limehouse Willie vows revenge. He disguises himself as a doctor and kills Aiko in her hospital bed, but is chased away before he can administer a fatal injection to Tomoya. When Lieutenant Anderson warns Akira not to take matters into his own hands, the enraged widower dares police to stop him. Meanwhile, Limehouse Willie puts the clues together, kills Sgt. Daley as he attempts to sell the Van Atta necklace, and takes possession of Daley’s briefcase full of cash. Akira hides his sons in a warehouse near Pier 24, where he practices his ninja skills and forges a special sword. Then, after stealthily entering Mr. Newman’s compound, he overpowers the security staff with his sword, arrows, razor-sharp metal projectiles, and martial arts skills, despite being shot in the thigh. Finding Newman, Akira impales him through the throat. Limehouse Willie grabs the money, escapes in a pickup truck, and tries to run Akira over, but the ninja fighter hides underneath the chassis. Limehouse Willie drives to Akira’s warehouse hideaway to kill the boys, but as he grabs an axe, Akira emerges and breaks the weapon during hand-to-hand combat. After a chase through a neighboring warehouse, Akira drives a metal stake through Limehouse Willie, nailing him to a log resting on a band saw. As Akira turns on the machine, Limehouse Willie begs to be killed as the log moves toward the spinning blade. Later, Akira and his sons visit Aiko’s grave. Lt. Anderson joins them with the news that Mr. Newman and his associates were wiped out in a gangland killing, and the Federal Bureau of Investigation will conduct an inquiry into Sgt. Daley’s involvement. Witnesses report that a ninja was responsible for the massacre, but Akira responds that ninjas do not exist. The lieutenant suggests that if Akira crosses paths with the ninja, let him know that police do not want him causing any more trouble in the area. Anderson tosses a metal projectile at Akira, who smiles and bows his head.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Batman Returns

According to a 14 Jun 1992 LAT article, Warner Bros. was very eager for Tim Burton to direct the sequel to his 1989 film Batman ... >>

Blue Movie

The 25 Jun 1969 Var review noted that Blue Movie was shot in Sep 1968 in New York City. Along with several other contemporary sources, ... >>

Psycho

Actor Vaughn Taylor's surname is misspelled "Tayler" in the onscreen credits. Several Jun and Jul 1959 HR news items erroneously refer to the film as Psyche. ... >>

Friday the 13th Part 2

       According to an article in the 5 May 1981 DV, Friday the 13th (1980, see entry) was the “surprise box office hit” of 1980. ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.