La fureur du revenant

What the hell is this all about? Here's a choice cut of dialogue "you have to catch him, then wrap him in, turn around, (whispers) a sanitary towel!" What? I think that they make these things up as they go along!

"Ren xia ren" (1982), directed by Wu Ma, is a delightfully zany martial arts ghost comedy that seamlessly blends action, horror, and slapstick humor into a wildly entertaining package. While the film's plot can be convoluted at times, its strengths lie in its imaginative set pieces, standout performances, and a willingness to embrace the absurd.

The standout performance undoubtedly belongs to Sammo Hung, who shines as the effigy merchant caught up in a web of deception and supernatural hijinks. Hung's physical comedy chops are on full display, particularly in the unforgettable scene where he dons a doll costume and engages in a hilarious fight sequence. His chemistry with co-star Yuen Biao adds an extra layer of comedic brilliance to their interactions.

Another standout is Ching-Ying Lam, whose portrayal of the mischievous Uncle is a scene-stealer. His ghostly antics, including a memorable sequence where he is carried through the town by invisible spirits, are both creepy and hilarious, perfectly capturing the film's tonal balance.

Wu Ma's direction excels in creating a vibrant and imaginative world where the supernatural and the mundane collide. The film's special effects, while dated, are executed with a charming practical ingenuity that adds to the overall campy appeal. The fight choreography, a staple of Hong Kong cinema, is top-notch, with Sammo Hung and his team delivering thrilling and inventive action sequences.

However, the film's narrative can be a bit meandering at times, with subplots and character motivations occasionally getting lost in the chaos. Additionally, some of the humor may not resonate with modern audiences, as it leans heavily into slapstick and broad comedy tropes.

Despite these minor flaws, "Ren xia ren" remains a delightfully entertaining romp that showcases the best of Hong Kong's unique blend of martial arts, horror, and comedy. With its standout performances, imaginative set pieces, and a willingness to embrace the absurd, cementing its status as a cult classic in the genre.

Bonkers chop-socky that is part satire of ludicrous Hong Kong supernatural martial arts films, and part brilliant example of how it should be done. A rare wheeze that actually does have something for everyone:

Excellent slapstick comedy - the hero is pompous and fat, not lithe and Jackie Chan-like; getting into daft, self-generated scrapes, he is kicked about by every one, and guards a dead friend who isn't really dead in an hilarious scene that has him fending off curious gold thieves. He is repeatedly buffeted by otherworldly menaces, first his mischievous friend, then Satan's minions, who turn him into a lime-covered bug.

Action - Choreographed with great skill, played mostly for laughs, but there is one sequence - the friend's murder - that is filmed with rare beauty.

Horror - Again, mostly comic, with a remarkable use of somewhat cheap special effects.

Historical costume drama - not very precise, but the costumes and set-design are an immense, guilty, Orientalist pleasure.

Satire - under all the laughs is a serious study of repressive social and gender codes, and the last scene is spectacularly subversive in its implications.

"Ren xia ren" (1982), also known as "Human Lanterns," is a peculiar blend of martial arts, horror, and drama that showcases both the creativity and excess of Hong Kong cinema in the early 1980s. Directed by Wu Ma, this film offers a unique viewing experience that, while flawed, manages to leave a lasting impression.

Set in ancient China, the story revolves around a rivalry between two wealthy men, Tan Fu and Lung Shu Ai, who compete to create the most beautiful lantern for an upcoming festival. Their competition takes a dark turn when they enlist the help of Chao Chun-Fang, a skilled lantern maker with a sinister secret. Chao, seeking revenge for past humiliations, begins crafting lanterns from human skin, leading to a series of gruesome murders.

Wu Ma's direction is ambitious, if not always successful. He attempts to balance elements of traditional wuxia films with horror tropes, creating a unique atmosphere that sets "Ren xia ren" apart from more conventional martial arts movies of the era. The film's visual style is often striking, with vivid colors and imaginative set designs that enhance the otherworldly feel of the story.

Chen Kuan-tai delivers a standout performance as Chao Chun-Fang, the vengeful lantern maker. His portrayal of a man driven to madness by his desire for revenge is both chilling and oddly sympathetic, providing the emotional core of the film. Chen's ability to shift between calm craftsman and deranged killer is particularly impressive and contributes significantly to the film's unsettling tone.

One of the most memorable scenes in the film involves Chao's workshop, where he creates his macabre lanterns. The sequence is a masterclass in building tension, with Wu Ma using clever camera work and lighting to suggest the horrific nature of Chao's work without resorting to excessive gore. This scene encapsulates the film's ability to create horror through implication rather than explicit violence.

The martial arts sequences in "Ren xia ren" are competently choreographed, though they sometimes feel at odds with the horror elements of the film. When they do work, however, they add an extra layer of excitement to the proceedings, particularly in the film's climactic confrontation.

Despite its strengths, "Ren xia ren" is not without significant flaws. The pacing can be uneven, with long stretches of dialogue and character development interrupted by sudden bursts of action or horror. This inconsistency can make the film feel disjointed at times, potentially alienating viewers expecting a more traditional martial arts or horror experience.

The film's treatment of its female characters is problematic by modern standards, with women often relegated to roles as victims or objects of desire. While this was not uncommon in films of this era and genre, it does detract from the overall quality of the narrative.

The special effects, while ambitious for their time, have not aged particularly well. Some of the more fantastical elements of the story are undercut by unconvincing practical effects, which may take modern viewers out of the experience.

For fans of martial arts cinema looking for something off the beaten path, or horror enthusiasts interested in exploring the genre's manifestations in different cultures, "Ren xia ren" offers an intriguing, if flawed, viewing experience. Chen Kuan-tai's performance and Wu Ma's creative direction provide enough highlights to make the film worth seeking out for cinephiles interested in the more obscure corners of Hong Kong cinema. While it may not reach the heights of the best examples of either the martial arts or horror genres, "Ren xia ren" remains a fascinating cultural artifact that demonstrates the willingness of Hong Kong filmmakers to push boundaries and blend genres in unexpected ways.

A man( Wu Ma) fakes his death in order to steal his family's funeral treasure. When the treasure is instead bequeathed to Ma's unborn son, his co-conspirators kill him (for real this time). His vengeful spirit seeks out the help of his friend (played by Sammo Hung) and together they seek revenge on his murderers.

Sammo Hung stars in this rather unusual but colourful tale that is in vein of Mr Vampire et al, but there's no hopping vampires in sight. Only a vengeful ghost in the form of Wu Ma and a trio of gremlin like creatures. The production is really good, the cinematography is top notch and the Chinese culture and its ritual is brilliantly done. Performances is great from all, especially Wu Ma. The fights are rather good, though few and far behind. Only sore spot is that it gets tedious towards the end. But it's still a good film.