Ren pi deng long

In a quiet town nestled amidst mist-shrouded hills, two Kung-Fu masters vie for supremacy. Their battleground? Not the martial arts arena, but the eerie world of lantern craftsmanship. Directed by the enigmatic Chung Sun, Human Lanterns weaves a tale of obsession, betrayal, and gruesome artistry.

Master Lung (played by Tony Liu Yong) and Master Tan (Chen Kuan Tai) are town braggarts, each scheming to outshine the other. Tan unveils a human-sized lantern that captivates the simple folk, while Lung seeks an even grander creation. His quest leads him to Chun Fang (Lo Lieh), a former love rival turned master lantern maker. But Chun Fang's conditions are ominous: Lung must never visit his workshop.

The film's opening credits reveal a warehouse adorned with human remains atop a blood-soaked grinder. The macabre truth emerges: these gruesome trophies become the lanterns that illuminate the town. Skin peeled from victims' bodies, bones sculpted into delicate frames-the lanterns cast an otherworldly glow, fueled by suffering.

As more women vanish, the town trembles. The mysterious hermit hired by Tan adds to the intrigue. His lanterns, infused with secrets and darkness, lure unsuspecting souls. The brothel's madam, the prostitute, and the townsfolk-all are drawn into this dance of shadows and blades.

Human Lanterns teeters between horror and martial arts, its brutality tempered by censorship. The missing scenes-where skin meets blade-leave us craving the uncut version. Yet, the film's eerie ambiance and twisted creativity linger. It's a flawed gem, like a tarnished lantern casting both light and shadow.

Chung Sun's vision is a chiaroscuro nightmare, where beauty and horror entwine. Watch it for the unsettling visuals, the clash of egos, and the haunting lanterns. But beware: once you glimpse their glow, you'll forever question what lies beneath the surface.🌓 🔪🌟🌕🌺🔮🌓

The English title is in many respects, unfortunate, as this is really a morality play dressed as a martial arts film with horror elements.

The film begins by introducing us to "Master Tan" and "Master Lung," two wealthy, but otherwise uncharacterized, rivals. Master Tan displays a lantern that he had made for the lunar festival. Master Lung responds that it is an object unworthy of esteem. Lung then decides that he will hire a former rival, Chao Fang (played by Lieh Lo of "Five Fingers of Death" fame), to craft an even better lantern. Fang agrees, but only on condition that Lung never return to his lair-like shop.

Of importance to the story-line is the fact that Lung had, in the past, fought Fang, and scarred Fang's face. Lung, we are to note, is a man who believes his money can right all past wrongs.

From this "bargain" involving three men and their fragile "honor" come the horrors; for what this story is really about is Fang and his own place in the social order. The bargain gives him his own chance to avenge perceived wrongs, even as he crafts the handiwork that will allow Lung to one-up his competitor. From (relatively) small slights come disaster.

Of the story-line, I will say little else, as this is a movie that runs less on plot development than allowing a dynamic that has been set in motion early-on play itself out through a set of highly choreographed martial-arts routines. I will, however, comment on a few technical aspects that impressed me:

First, with the exception of a few sequences shot outdoors (one quite memorable, shot in a grove of tall trees), this is a studio-set movie that takes place in just a handful of locations. The sets are simply arresting and, in some cases, quite beautiful. The costumes, set design and lighting are all very-well thought out and executed. (Comparisons to the early films of Mario Bava are warranted.) None of the sets are meant to represent "actual" places, but rather allegorical places: the peaceful, noble abodes of Tan and Lung; the boisterous market-place; the hellishly menacing, creepy shop of Fang--each is set in opposition to its counter-parts.

So, in what time period does "HL" take place, exactly? As with much of the Wuxia genre, the historical setting is not terribly important for the story-line. What matters are the character-types. That said, the Hanfu styles of dress indicate one possible (and remote) time-period. The appearance of the tiger hooks (used by the assassin character) bring us much closer to the present.

Second, the lighting, camera work and editing are impressive. For example, the first time we meet the monkey-ghost character, the lighting frames the face in a way that was quite memorable for this viewer. Director Sun Chung also uses slow-motion and fast-motion techniques, particularly in the acrobatic martial-arts segments. But he also dabbles with soft focus shorts at times (mostly for the abodes of the two principal characters). There are many, many places where "HL" is a sumptuous, beautiful film (and one that deserved a better English title.)

If I have a quibble, it is that the end of the film does not do justice to the careful pacing and style of what preceded it. There are quite a few veteran actors at work here (though it is Lo who steals every scene in which he is a part); I just wish the ending could have been written better. That said, a surprisingly good movie. I was not expecting it, quite honestly.

It's noteworthy from the very start that this meets all the high standards one expects of Hong Kong action flicks generally, and Shaw Brothers productions specifically. The sets are absolutely magnificent, overflowing with incredible detail, and whether the pieces are conventionally fetching or gnarly and horrific, I would love to be able to explore every inch of Ching-Shen Chen's art direction. Much the same unquestionably applies to the costume design, hair, makeup, and props and weapons - elements that, depending on the precise setting, vary between the typical imaginative, gorgeous aesthetics of any similar period fare, and grotesque, brutal, blood-soaked ugliness. The very premise lays the groundwork for the folks operating behind the scenes to just let their creativity run wild, and make no mistake, they unflinchingly embraced the horror-laden spirit with gusto. Even cinematographer An-Sung Tsao seems to rather let loose here, for while his work is active and dynamic in the first place, and very mindful when it comes to letting us see the action in any given scene, there are also plentiful instances here where the camerawork is pointedly exaggerated and playful in one way or another, all but flying off the proverbial handle. Even just in its basic visuals 'Human lanterns' is a splendid, exuberant ride of whimsy.

It makes that impression from the very start, and for as quickly as the feature moves forward, it never even gives us a chance to change our minds. This especially holds true as the picture blends two discrete genres that are rarely put together: the fluid, dazzling artistry and high-impact action of kung fu, and the nasty, visceral darkness of horror. All the many stunts, effects, and choreography that we get in both capacities are a supreme joy, conjured and executed with marvelous, captivating skill and intelligence - to excite, to thrill, and to repulse. With some sequences being given an extra edge of fancifulness (think of characters running on trees or flying through the air in 'Crouching tiger, hidden dragon') the effect is only magnified. And between the strong, pronounced acting of everyone in the cast, performances of personality and vigor, and the equally robust direction that ensures every moment is as vivid and vibrant as it can be, the unfailing result is a viewing experience that keeps us firmly locked in for the entirety of its ninety-odd minutes.

Especially earlier in the length, I do think there are times when the genre stylings are more deliberate in their dispensation, with dialogue filling these portions instead; at such times the pacing is ever so slightly curbed, to the movie's detriment. Yet such moments are few, and pale in comparison to the treasure trove of action and horror that we mostly get. Filmmaker Chung Sun and co-writer Kuang Ni penned a delicious screenplay with sharp, potent, and rather emphatic scene writing providing firm, flavorful definition to a narrative of proud and arrogant nobles, and the psychotic killer with a certain special trade. Granted, the connections between these threads are kind of thin, but the plot is all that it needs to be to set the stage for the spectacle of violence and madness; just as much to the point, 'Human lanterns' definitely knows what its intentions and strengths are, and it plays directly to them. The writing is but the canvas on which is painted the spectacle of violence and craftsmanship, and whether one is here for the kung fu, the horror, or all the wonderment we rightly assume of Shaw Brothers films, the entertainment and reward is outstanding.

As a matter of personal preference I can understand how this won't appeal to all comers. There are points that one could reasonably nitpick, and it bears repeating that the writing is surely chief among them. Yet whatever critiques one may lob at this 1982 title are easily outshone by the tremendous care and hard work that was poured into this from all involved The cast and crew turned in utterly fantastic contributions in every regard, and the all the genre elements, martial arts and nefarious doings alike, make for a rich, spellbinding tableau. In terms of neither aspect is the movie the peak of its respective genres, yet this is all-around tight and vicious, and fabulously fun and satisfying. For my money this is worth far more than whatever one might have to pay to watch it, and 'Human lanterns' is a far-out, rather brilliant slice of cinema that deserves much more recognition. If you have the chance to watch, I'm happy to give this my very high, hearty, and enthusiastic recommendation!

Hammer horror meets wuxia. It makes about as much sense tonally as it sounds. Storywise, it's a barely coherent morality play about pride and greed that comes across like an excuse to string together some swordplay, some reasonably nasty flaying scenes, and very pretty setpieces. It is a great looking movie, I have to admit--the use of lighting is otherworldly. Sun Chung was easily one of the best directors Shaw Bros ever had, but when he wasn't doing cookie cutter martial arts stuff, he was seriously wasted on misguided crap (let's face it) like this.

There's something really "off" about how simultaneously Asian and European this movie feels. My instincts tell me it's not supposed to exist. Dramatically it never really takes off, but it's interesting enough in the context of "what were they thinking?" curio.

Human Lanterns goes for broke and mostly works. It's gonzo stuff, being a cross between a martial arts movie and a murder-mystery about a deranged serial killer, all taking place hundreds of years ago (possibly longer).

I like it when a Shaw Brothers movie does something out of left field. This isn't my favorite example of the studio doing that, but it certainly has its moments - enough of them for this to end up being pretty decent. There's enough here that's fun to make it worth a watch for martial arts fans after something different.

It was let down a little, I felt, by being uneven. It committed to different levels of crazy at different points, and feels all-over-the-place as a result. That sense of chaos can work when it's pushed far enough often enough in a movie like this, but I don't feel like Human Lanterns always did the best job at this.

Still, for having some silly horror mixed in with some violent fight scenes, there was a good amount here that proved enjoyable. The kind of thing that gets a caution recommendation, for fans of this style of odd film, at least.