Partially a remake of a Shaw Bros. classic, partially an adaptation of an old Chinese folk tale, Chinese Ghost Story became one of the defining films of the Hong Kong New Wave and inspired countless imitations, including its own sequels … Continue reading Chinese Ghost Story
After a stormy start, the two become closer, eventually even falling in love — which would be sweet if Hsiao-Chien didn’t turn out to be a ghost, her well-appointed villa an illusion covering a decrepit haunted house, and her mistress a demanding old ghoul with a taste for souls. Continue reading Enchanting Shadow
Tsui Hark’s one modest ambition in life was to forever change the way movies were made in Hong Kong. Just that. A small order, right? The amazing thing is that he managed to pull it off. His work in the early 1980s served as one of the foundations of what would become known as the Hong Kong New Wave — that heady period of filmmaking from the 1980s through to the middle of the 1990s when new filmmakers and new styles of filmmaking were running rampant and turning Hong Kong into the most interesting movie making mecca in the world. It’s no accident that Hark found himself in the middle of this cinematic upheaval, just as it’s no accident that what happened in Hong Kong then so closely mirrored what had happened with American filmmaking in the 1970s. The old guard was puttering along, making movies that were out of touch with what young filmgoers wanted. The hungry new generation was waiting to bust out from under the thumb of their mentors and flood the market with bold new approaches and ideas. And finally it got to the point that the next generation could not be contained. They took control, and nothing was the same again.