Human Lanterns (1982) review

HUMAN LANTERNS 1982

Lo Lieh (Chao Chun Fang), Liu Yung (Lung Shu Ai), Chen Kuan Tai (Tan Fu), Lo Mang (Kwai), Tanny Tien Ni (Lee Chin), Linda Chu (Yen Chu), Sun Chien (Sgt. Poon), Shaw Yin Yin

Directed by Sun Chung

Linda Chu is terrorized before having her head split open and her skin removed

Wishing to defeat his social rival in the annual lantern festival, the wealthy and pompous Lung Shu Ai enlists the aid of Chao Fang, who is skilled in lantern making. Chao and Lung's paths had crossed several years prior during a sword duel. Remembering his scorn and the loss of his woman to Lung, the hermetic and insane Chao Fang plots a horrible revenge that will bring about the deaths of Lung and everyone close to him.


One of Shaw Brothers most revered and skilled directors, Sun Chung, made a return to fantasy territory in his first such film of the 1980's. Chung had started his career at Shaw Brothers with a fantasy swordplay film laced with horror elements. That film was THE DEVIL'S MIRROR (1972). Although Chung was well known for his superlative swordplay features, he was skilled in other genres. His exploitation movies are a mixed bag, but never boring. Before undertaking HUMAN LANTERNS, Sun Chung had directed another dark horror picture, REVENGE OF THE CORPSE aka THE BLOODTHIRSTY DEAD in 1981. HUMAN LANTERNS is a merging of the ghastly with the classical style of action film he was closely associated with.

One of many beatifully striking Shaw Brothers sets

One of the great aspects of Shaw productions aside from their often excellent set design are the rich characterizations found in the movies. Many times Shaw film characters are tragic individuals of one sort or another. Even if by the 1980's their output was deemed old fashioned, Shaw films were seldom matched in these and other respects.

Tanny Tien Ni finds herself in the hell of the human skin lantern maker

For this film, as well as being typical of the style of movie the Shaw's were known to make, virtually none of the characters are noble in any way. Everyone is either incredibly self centered, greedy, or out for blood. It's difficult to ascertain whether or not Chao was evil prior to being insulted by his rival and losing his woman to him. Once he loses everything, he turns into a scarred and hopelessly disturbed monster. His character is easily the most complex in the film. Even so, with all the conniving and mean spirited people populating Chung and I Kuang's script, the final scene shows us that what we have seen is a morality tale disguised in horror and martial arts dressings.


Lo Lieh was an exceptional actor at Shaw Brothers and was incredibly prolific in cinema (over 200 movies) up until his death in 2002. He got his first stab at a lead role in FIVE FINGERS OF DEATH (KING BOXER; 1972), the first kung fu film to begin the craze in America. From there, Lo Lieh starred in films of all genres, but mostly action and exploitation movies. Another of his popular works is BLACK MAGIC from 1975. For HUMAN LANTERNS, Lo delivers one of the most searingly volatile performances in the horror genre, regardless of East or West.


Action film actor, Liu Yung is also good here playing one of the main protagonists. It is he who took Chao's woman and cut his face in a show of contempt. By films end, he has transformed into a man of character, but at a price. A third protagonist (or antagonist just the same) completes this misbegotten triangle of greed and hate. Chen Kuan Tai, a hugely popular kung fu movie star since 1972, plays the more recent rival to the aristocratic Lung. Liu Yung was one of the most popular actors of the time and and a good friend of Bruce Lee. He has appeared in scores of action films from period swordplay and kung fu to modern day thrillers.


Chen Kuan Tai was a massive star in Hong Kong in the early 1970's. He became a household name virtually overnight with his powerful starring role in Chang Cheh's ultra classic THE BOXER FROM SHANTUNG (1972). From there, Chen was box office gold and he was eventually paired with the 'Iron Triangle', which consisted of actors David Chiang (LEGEND OF THE 7 GOLDEN VAMPIRES), Ti Lung (SHATTER) and director Chang Cheh. Chen was also paired with another Shaw Brothers megastar of the time, Alexander Fu Sheng in the classic film, HEROES TWO in 1973. Chen Kuan Tai continues to work to this day.


Lo Mang was the Toad in the FIVE VENOMS (1978). Formerly an accountant and bodyguard at Shaw's studio, Lo was a charismatic presence onscreen. After 1980, he was given several solo efforts such as LION VS. LION (1980) and FAST FINGERS (1983). CRAZY SHAOLIN DISCIPLES (1984) reunited him with his fellow venom colleague, Kuo Chui as well as Gordon (36TH CHAMBER OF SHAOLIN) Liu. He also continues to work extensively in both film and television.

Liu Yung (left) and Chen Kuan Tai (right) battle to the death after believing each has brought harm to each of their respective families

By turning a long time rivalry into a bloody need for revenge, Chao manages to seriously weaken both Lung and Tan by forcing them to destroy each other. Sun Chung borrows this story arc from Kurosawa's YOJIMBO (1961) and turns it into a comic book colored, grand guinol horror opus. The method of skinning people and making lanterns out of them would seem to have been lifted from the real life exploits of both Ilse Koch, or Ed Gein, but it seems there are actual Chinese legends that involve this practice.

The HUMAN LANTERNS

Chinese lanterns are a symbol of a long life and this nasty alternate method of creating them is a bastardization of the concept. As opposed to celebrating a prosperous existence, Chao's lanterns are the violation and ultimate destruction of life. This is demonstrated in a graphic, yet effective sequence wherein Chao terrorizes a bound Yen Chu (Linda Chu) before slicing her head open to pour mercury inside the wound. He then proceeds to remove her skin.

Chao Fang admires a mole on the skin of one of his victims

There is another scene later in the movie that is just as vicious, although less gory. In this second skin flaying scene, Chao rapes Lung's wife before carefully peeling away her epidermis. This is a very powerful sequence. Lee Chin's violation is punctuated by a shot of two cog wheels turning together. Tears roll down her face as she studders her husbands name. Chao giggles happily as she cries and he continues his domination over her after losing her to Lung years before.

Lung finds his dead and skinless wife in Chao's lair

Director, Chung and prolific screenwriter, I Kuang have concocted a unique wuxia-horror hybrid. The gore is well done and Chao frequently makes his way through the film disguised in something resembling a gorilla outfit with a hairy skull for a face. With blades fashioned into the hand portion of the suit, Chao's costume would seem to represent the seething hate and revulsion he feels for his enemies.


The fight scenes are also top notch. By 1977, Sun Chung had found his own personal style of shooting action scenes. HUMAN LANTERNS has his touch as well. Scenes are sprinkled with slow motion movements and close up shots of the combatants narrowly missing one another with a lethal blow from their weapons. The finale within Chao's lair is quite amazing replete with exuberant lighting effects and memorable set decor amidst the usual reliability of the Shaw's interiors.

Lung, Tan and the police force attempt to bring an end to Chao's evil

HUMAN LANTERNS has had a troublesome journey to DVD. Back in the 80's, a massively cut bootleg tape was circulating within fan circles. At the time, if you didn't catch the film in a Chinese theater, this version was all that was available. When Celestial Pictures announced their plans to restore the Shaw library to a state never before seen, there was cause for celebration. However, HUMAN LANTERNS (as well as some other titles) was released to DVD in Hong Kong lovingly restored, but shorn of the same footage missing from the tape version.


The British Momentum DVD was a revelation as it contained several minutes of additional footage not present in the HK disc. Image released the title mid 2008 utilizing the same print as the Momentum version. Although far more complete than the truncated HK version, that disc contains a small amount of footage not found in either the Momentum or Image's release.

Chao surrounded by his diabolical handiwork

HUMAN LANTERNS (1982) is Sun Chung's second foray into dark horror territory. It's also one of his most famous films from his illustrious resume. His ghoulish martial arts extravaganza is must see entertainment for both kung fu fans and horror film aficionados. Those seeking something a bit different will find much to appreciate here from the performances, to the admirable set design and the handful of action sequences. HUMAN LANTERNS is one of the best films of its kind and one of the most memorable Hong Kong horrors of the 1980's.

This review is representative of the R1 Image DVD

The Boxer's Omen (1983) review

THE BOXER'S OMEN 1983 aka DEVIL

Philip Ko (Chan Hung), Wai Ga Man (Chan's girlfriend), Wang Lung Wei (Chan Wing), Elvis Tsui (Qing Zhao), Yang Tze/Bolo Yeung (Bu Bo)

Directed by Kuei Chi Hung

***WARNING! This review contains gruesome images of gore and nudity***

Bolo Yeung (right) battles veteran Shaw villain, Wang Lung Wei (left) during the opening moments. Bolo featured in a number of Shaw Brothers productions in the early 1970's before landing a small role in ENTER THE DRAGON. Bolo went on to appear in dozens of kung fu quickies including a handful of Bruceploitation movies

Chan Hung's brother is brutally paralyzed after a Thai boxing match when his opponent becomes incensed over losing the fight. Chan journey's to Thailand to avenge his brother shame. Once there, bizarre occurrences lead him to a Buddhist monastery where he discovers a curse on his family. Chan is linked to a dead monk who, in the process of becoming immortal, lost a duel of magic with an evil wizard, who wanted him dead for killing one of his evil disciples. Chan must now take up where the previous monk left off and only if he defeats the dark magician will the monk attain immortality.


Hong Kong horror extraordinaire, Kuei Chi Hung directs the wildest horror movie of his long career as a director which began back in 1973. An assistant to the famous action director, Chang Cheh, Kuei co-directed the gritty and grimy modern day action tragedy, THE DELINQUENT in 1973. From there, Kuei embarked on his own turning out some truly despicable motion pictures such as the exploitation classics, THE BAMBOO HOUSE OF DOLLS (1973) and KILLER SNAKES (1974).

A handful of behind the scenes shots from THE BOXER'S OMEN from the October 1983 issue of Southern Screen magazine

Kuei excelled in brutal realism, or often times, the exaggeration of brutality. By the time he had gotten around to the 1980's, he directed a series of nasty black magic movies that were far more gruesome than those made popular by Ho Meng Hua in the mid 1970's. THE BOXER'S OMEN is the supremely psychedelic sequel to the less extravagant (but no less disgusting) BEWITCHED from 1981.

Kuei prepares to shoot a portion of a wizard duel involving a slew of bat creatures

Where that film was a dark tale about the dangers of infidelity built around various curses and a showstopping magic duel, BOXER'S OMEN is all style and gruesome flamboyance. The art design by prolific Cheng Chin Shen is vividly sprawling and at times, spectacularly gaudy. Combined with the vision of its dangerously ambitious director, the film looks like the product of a mad genius. At times, BOXER'S OMEN appears to be a schlocky nightmare come to life and at others, it contains some articulate and enormous sets that belie it's tackiness.


Kuei was often a tyrannical director seemingly demanding blood on occasions. He also took a hands on approach to his movies designing and overseeing the props seen in the film. Kuei spent a year prepping the movie and makes good use of locations outside of Hong Kong such as Thailand and Nepal. The latter two add greatly to the already bizarre and mysterious atmosphere found in the picture.


Kuei's movie contains pretty much every single HK horror gross out sequence imaginable and also sports some then fairly decent effects shots such as a scene where the evil wizards head separates from his body and proceeds to strangle Chan Hung with its dangling veins and blood vessels. This type of black magic monstrosity is a legendary creation of Malaysian origin. Having been featured in such movies as Indonesia's MYSTICS IN BALI (1981) and Hong Kong's WITCH WITH THE FLYING HEAD (1977). A variation of this legendary evil spirit was in the form of a huge, flying human heart(!) from the bargain basement kung fu horror film, FIREFIST OF INCREDIBLE DRAGON (1983).


As in a lot of Asian culture and folklore, crocodiles feature prominently in this film. Prop skulls are used in magic rites and a gigantic crocodile carcass is used to house a rotted corpse that ultimately gives birth to a fully naked sorceress with elongated fingernails! A monster crocodile also figures into the climax of the movie.

Possibly the single most disgusting sequence in the entire movie

One sequence is one of the most incredibly distasteful things I have ever seen in any movie. It involves three disciples of the dead wizard (the one who wanted vengeance for the death of one of his OTHER students; wars between wizards can get confusing at times). To bring this even more powerful sorceress to life, the three wicked wizards utilize a potion that involves eating apparently rotten fruit, banana peels and a maggot ridden chicken carcass. They then puke up this mess and pass it on to the next sap who in turn pukes up the bile then passes the disgusting mass on to the next guy. Then, they take a chickens anus and eat that, puke it up, pass it on and repeat. They then put the regurgitated glop inside the naked corpses mouth prompting the witch woman to spring to life. Like the Italian cannibal movies, Hong Kong horror is naked without a puking scene.


There's also an army of bats and crocodile skulls and once more, puking followed by the consumption of the regurgitation. This up chucked mess is then used to bring to life some totally bizarre creature that emerges from an egg sac not unlike the ones seen in ALIEN (1979).


There's also a striking sequence where Chan Hung is awakened in the night with an upset stomach only to throw up a very large eel! At the end inside a sacred Nepal temple, Chan Hung does battle against statues come to life and a giant crocodile summoned by the demon sorceress.


At another point, furry worm creatures fall off of the priestess and onto Chan Hung who is being held down by clawed skeletal arms(!) The worms crawl into his nose and ears in a scene that reminded me a great deal of the creatures in STAR TREK 2: THE WRATH OF KHAN (1982). Then, Chan Hung calls upon an even more powerful spirit who rips the sorceress demons skin completely off(!!) She then shits up some inexplicable blue mass just prior to giving birth to three cocooned creatures. The skinless priestess then dissolves into a million maggots.


The three offspring grow to full size within seconds and appear to be wrapped in gooey saran wrap till they are revealed to be the three evil disciples reborn. The three stooges of black magic then proceed to kill themselves all over again. One of the bodies splits open and out pops three cyclopean stop motion poodle monsters(!!!)

The bizarre burial and rebirth sequence

The special effects range from elaborately creative to mind numbingly terrible. At times the effects have a strangely hypnotic impact on the viewer. This is not a movie to watch if you've had a few to drink, either. Each wildly erratic sequence constantly strives to outdo the last complete with all manner of opticals, thunder, lightning and sound effects from FLASH GORDON (1980) and musical cues from ALIEN (1979). Those who recall the photographic effects of the melting demons during the finale of THE EVIL DEAD (1981) will see similar shots here, too. However, THE BOXER'S OMEN is a far more ambitious enterprise in offensiveness and the geek show mentality.

Philip Ko (left) pushes for his brother (played by Wang Lung Wei; right) to get up and fight

Philip Ko will be familiar to kung fu fans and those who love modern day style HK actioners. He married 'Girls With Guns' star, Yukari Oshima as well as forming his own production company, directing and choreographing action sequences. Ko has appeared in dozens of old school kung fu movies and alternated between playing good and bad guys. He was good at both, but more effective at being an antagonist which complimented his imposing facial features.

The Shaw's had a knack for finding the biggest breasted Asian women to fill out their exploitation movies

Elvis Tsui, who plays the monk trying to become immortal, later became a frequent performer in many of HK's category 3 soft core porn movies. In his early career which began in 1983, Tsui had supporting roles in over a dozen Shaw Brothers productions such as SHAOLIN PRINCE (1983) and its follow up SHAOLIN INTRUDERS (1983), both of which were shot simultaneously.


With all the mind blowing insanity the BOXER'S OMEN has only one real negative going for it and it's not totally a negative. The script contains much information on actual Asian black magic rituals as well as a legend of an actual monk who was said to have become immortal. During the middle portion of the movie, things slow down just a bit as we watch Chan Hung become a monk in order to do battle with the villain. These moments aren't totally free of wacky imagery, though.


THE BOXER'S OMEN (1983) was a success in Hong Kong. Not to a degree of say a Jackie Chan movie, but 4.1million isn't too shabby for an adult horror movie. The similarly themed RED SPELL SPELLS RED (1983) was released about a month after OMEN and made just a slight bit more at the Hong Kong box office, despite being an inferior movie. Oddly enough, THE BOXER'S OMEN was a VCD only title in Hong Kong when its restored, uncut version was released there back in 2006. It did not get a DVD release until it came out in America via Image Entertainment.


Kuei's garish, extremely over the top horror master work is a highly recommended piece of filth filmmaking and a product of a bygone era that will likely never be repeated. It's tremendously creative energy ensures one of the most mind boggling cinematic experiences anyone is ever going to be put through. Whether you find it absolutely amazing, or stunningly awful, one thing is assured--you will never forget THE BOXER'S OMEN.

This review is representative of the Image region 1 DVD

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TWISTED FLICKS