Ren pi deng long

"Ren pi deng long," translated as "Human Lanterns," is a 1982 Shaw Brothers production that throws martial arts action into a blender with disturbing horror elements. The result is a bizarre concoction - a campy, uneven film that will leave you scratching your head while occasionally offering bursts of entertainment.

The plot revolves around a wealthy man, Lung Shu Ai, who desires a unique lantern for a festival. He hires the skilled craftsman Chao Fang, unaware of the simmering resentment Chao holds for Lung. This resentment stems from a past betrayal, and Chao decides to craft his revenge in a particularly gruesome way - by using human skin for the lanterns.

The fight choreography is decent for the era, featuring Shaw Brothers staples like lightning-fast kicks and acrobatic displays. However, the special effects haven't aged well, with the "human skin" looking more like cheap plastic. The real draw (or turn-off, depending on your taste) is the horror element. The film doesn't shy away from showing the skinning process, albeit with a level of camp that lessens the impact.

The acting is a mixed bag. The lead villain, Chao Fang, chews the scenery with gusto, bordering on parody at times. The hero, played with stoicism by Lieh Lo, provides a more grounded counterpoint. The narrative unfolds in a predictable manner, with the mystery of the lantern maker's identity revealed fairly early.

"Human Lanterns" is a film that thrives on its outrageous premise. It's undeniably exploitation cinema, pushing boundaries for the sake of shock value. If you're looking for a well-crafted horror film or a top-tier martial arts flick, you'll likely be disappointed. But for those seeking a cheesy, bizarre cinematic experience, "Human Lanterns" offers a campy thrill ride with some impressive fight sequences sprinkled in.

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.

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!

Greetings And Salutations, and welcome to my review of Human Lanterns; here's the breakdown of my ratings:

Story: 1.75 Direction: 1.50 Pace: 1.50 Acting: 1.75 Enjoyment: 1.75

TOTAL: 8.25 out of 10.00

The surprising element of this movie is the complex and stimulating unfolding drama. And, the bonus is the martial arts sequences, which are superb.

The writers, Kuang Ni and Chung Sun begin the story with a party. Master Tan Fu is showing off his latest conquest, Yen Chu, who was Master Lung Shu Ai's concubine. The Masters have been in a state of rivalry for many years, and this peacocking is merely another one-up-manship by Master Tan to embarrass Master Lung. But Lung has other ideas and proclaims that Tan will again be the loser in the township's lantern festival. Lung rushes to his customary lantern artist, only to find that the old man doesn't craft the beautiful beacons; he purely sells them. Once Lung's heard the seller's secret, he enquires about the artist's identity. From that moment forward, life takes a darker and more deadly path for the two masters, especially for Master Lung. The writers weave a dark, crooked road for our victims to walk down. The devious twists along the way will keep you engrossed. And the police's and victims' logical decisions and consequences towards each deviation create a powerful revenge story. Though you know the villain of the piece right from the beginning, it's a pleasure to watch the intricate plot unravel. I usually prefer whodunnits of this style. However, I profess that I loved the way the narrative's structured. It is a clever piece of writing.

Chung Sun is a man of many talents; he's as skilled behind the camera as he is pushing a pen. Human Lanterns is a beautifully lit and filmed slice of Chinese cinematography. I especially liked how the lights in the lantern makers workshop are not as bright as elsewhere - though the guy has more illumination than Blackpool and Las Vegas combined. There are lots of dark shadows, which emphasise the crafter's evil craftiness. Chung Sun is also an expert when capturing the fight sequences. Most of the time, he keeps the combatants in full frame and only uses close-ups to show off special moves, for example, Master Tan's Fan Steps at the party at the start of the movie. It is always best to see the action in full. But he also realises it's better to show certain details to add to the spectacular fight's credibility. And when the action takes place over different levels and locations, he gets imaginative with his shots.

The cast is excellent, both in their performance and fighting skills. Their talent adds to the strength of the story and your enjoyment of the picture.

If you like your Dark Thrillers with more than a dash of martial arts, or you like your Kung-Fu with a side order of an intriguing storyline, then Human Lanterns is the film for you. I would happily recommend this picture to all movie lovers worldwide - it is more than worthy of your time. I will be checking in on this beacon of illuminating excellent moviemaking again.

Blow out those candles and pop over to check out my Killer Thriller Chillers and The Game Is A Foot lists to see where I ranked Human Lanterns.

Take Care & Stay Well.

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.🌓 🔪🌟🌕🌺🔮🌓