When A Chinese Ghost Story (倩女幽魂) hit movie screens in 1987, it wowed audiences with its novel plot of man falls for female demon in an ancient Chinese setting. The unlikely couple played by late Hong Kong superstar Leslie Cheung (張國榮) and Taiwanese actress Joey Wang (王祖賢) quickly became a classic romance, and two sequels followed, as well as an animated movie.
Twenty-four years later, Hong Kong director Wilson Yip (葉偉信) has re-imagined the love story for a wider audience with a new cast, a new plot twist and modern special effects. The film opens in Taiwan on May 6. While the original was released during the heyday of Hong Kong cinema, the remake is largely targeted at the lucrative Chinese market, where censors once averse to superstition are now more open to supernatural-themed productions.
The 1987 version, directed by veteran filmmaker and action choreographer Tony Ching Siu-tung (程小東), takes inspiration from Strange Stories from a Chinese Studio, Qing Dynasty writer Pu Songling’s (蒲松齡) famed collection of ghost stories. Cheung’s scholar-turned-tax collector Ning Caichen (甯采臣) becomes smitten with Wang’s Nie Xiaoqian (聶小倩), a lonely demon who serves as a hunter for a tree devil who preys on human beings. Ning solicits the help of demon catcher Yan Chixia (燕赤霞) to free Nie of her enslavement.
Yip, whose career has taken off with the recent success of the kung fu biopics Ip Man and Ip Man 2, both starring Donnie Yen (甄子丹), has cast two baby-faced young Chinese actors as the new couple.
Yu Shaoqun (余少群), who rose to fame as a young Mei Lanfang (梅蘭芳) in Chen Kaige’s (陳凱歌) 2008 biopic of the late Peking Opera singer, plays the innocent scholar.
Liu Yifei (劉亦菲), who made her Hollywood debut in The Forbidden Kingdom, the 2008 kung fu picture that marked the first collaboration between Jackie Chan (成龍) and Jet Li (李連杰), is the distraught ghost torn between love and servitude.
But the director has also spiced up the drama by adding a back story of Nie’s earlier romance with Yan, casting Hong Kong heartthrob Louis Koo (古天樂) as the gruff ghost hunter.
Veteran Hong Kong actress Kara Hui (惠英紅), who is enjoying a career renaissance, plays the tree devil — a role taken on by actor Lau Siu-ming (劉兆銘) in the original.
And then there is the advancement in computer graphics in the nearly two-and-a-half decades between original and remake. While the original boasted convincing creature effects and won a Hong Kong Film Award for Yee Chung-man’s (奚仲文) art design — Yee went on to receive an Oscar nomination for his work on Zhang Yimou’s (張藝謀) 2006 costume drama Curse of the Golden Flower — Yip has the benefit of an unfettered digital canvas, backed up by a US$10 million budget — some 70 percent of which was devoted to special effects.
Yip said he was drawn to Yu’s innocence in the Mei Lanfang biopic, Forever Enthralled, while by casting Liu as Nie, he wanted to instill a livelier personality.
“Her emotions are like that of a small animal, like a fox. Her active personality is unlike the melancholic tone of the previous version,” Yip told reporters at the movie’s Hong Kong premiere on Saturday. The film was released in China on Tuesday.
Koo said that he thought Liu captured Nie’s otherworldliness and unvarnished beauty well while Yu pulled off the scholar’s contrasting qualities of physical weakness and mental determination.
Meanwhile, the addition of the ghost-ghost catcher romance creates dramatic tension. “I tried to evoke the question of whether (ghost catcher) Yan is jealous of [scholar] Ning,” Yip said.
Modern computer technology allowed him “to construct a world that is truly magical,” the director said.
Yu had the unenviable task of trying to match the performance of the late Cheung, who committed suicide by leaping off a luxury hotel in 2003. Cheung was one of Chinese pop’s biggest acts and earned critical acclaim for his on-screen performances in works such as Days of Being Wild, Happy Together and Farewell My Concubine.
Yu said he didn’t think too much about following in Cheung’s footsteps during shooting but is now aware of the comparisons after the movie’s release.
“There is that classic performance whose fans won’t allow you to alter it,” Yu said.
“I am no match for Ge Ge (哥哥) in terms of acting skills,” he said, using Cheung’s nickname. “Ge Ge’s artistic heights are hard for me to surpass at this stage. All I can say is that I devoted my full emotions and my hard work to perfecting the role the director assigned to me as much as possible.”
Most heroes are remembered for the battles they fought. Taiwan’s Black Bat Squadron is remembered for flying into Chinese airspace 838 times between 1953 and 1967, and for the 148 men whose sacrifice bought the intelligence that kept Taiwan secure. Two-thirds of the squadron died carrying out missions most people wouldn’t learn about for another 40 years. The squadron lost 15 aircraft and 148 crew members over those 14 years, making it the deadliest unit in Taiwan’s military history by casualty rate. They flew at night, often at low altitudes, straight into some of the most heavily defended airspace in Asia.
Many people in Taiwan first learned about universal basic income (UBI) — the idea that the government should provide regular, no-strings-attached payments to each citizen — in 2019. While seeking the Democratic nomination for the 2020 US presidential election, Andrew Yang, a politician of Taiwanese descent, said that, if elected, he’d institute a UBI of US$1,000 per month to “get the economic boot off of people’s throats, allowing them to lift their heads up, breathe, and get excited for the future.” His campaign petered out, but the concept of UBI hasn’t gone away. Throughout the industrialized world, there are fears that
Taiwan’s democracy is at risk. Be very alarmed. This is not a drill. The current constitutional crisis progressed slowly, then suddenly. Political tensions, partisan hostility and emotions are all running high right when cool heads and calm negotiation are most needed. Oxford defines brinkmanship as: “The art or practice of pursuing a dangerous policy to the limits of safety before stopping, especially in politics.” It says the term comes from a quote from a 1956 Cold War interview with then-American Secretary of State John Foster Dulles, when he said: ‘The ability to get to the verge without getting into the war is
Like much in the world today, theater has experienced major disruptions over the six years since COVID-19. The pandemic, the war in Ukraine and social media have created a new normal of geopolitical and information uncertainty, and the performing arts are not immune to these effects. “Ten years ago people wanted to come to the theater to engage with important issues, but now the Internet allows them to engage with those issues powerfully and immediately,” said Faith Tan, programming director of the Esplanade in Singapore, speaking last week in Japan. “One reaction to unpredictability has been a renewed emphasis on