Driving Ambition

“Name me, if you can, a better feeling than the one you get when you’re half a bottle of Chivas in the bag with a gram of coke up your nose and a teenage lovely pulling off her tube top in the next seat over while you’re going a hundred miles an hour down a suburban side street…If you ever have much more fun than that, you’ll die of pure sensory overload, I’m here to tell you.”

—- P.J.O’Rourke.

I’ve had something of a hatred of cars for as long as I can remember; when I was young, I used to start suffering from motion-sickness as soon as I got into a car. The record was three times in five miles – not so much a journey, more a remake of ‘The Exorcist’. Though it is some time since I have been so afflicted – getting a Walkman proved the final solution as it give my mind something to concentrate on apart from trying to decide if I felt sick or not – it will come as no surprise  to learn that I don’t possess a car and, in fact, don’t even have a driving licence.

“You don’t drive????”, say most people in London. “How do you get about?”. Quite easily. London Transport is pretty good, compared to the services in other places I’ve stayed – Farnborough being the classic example of a town without, well, pretty much everything, least of all any public transport. Nowadays, from the end of the road, I can hop on one of three buses – the 12 to Piccadilly Circus, the 78 to Liverpool Street (where I work) and the 63 to King’s Cross (the Scala) – which I’d guess cover me for at least 90% of all journeys I make. Ok, it might be a little slower than the car but not much – the average speed of all traffic in London is 3 mph higher than it was in Victorian times. In any case, I catch up when the driver is looking for somewhere to park.

Original photograph by: Firing up the quattro, modifications by shoepepper, CC BY 2.0 https://creativecommons.org/licenses/by/2.0, via Wikimedia Commons

Let’s not forget the opportunites for people-watching (ok, let’s be honest: girl-watching) that the bus provides. Not the tube, mind you, as catching someone’s eye on the Underground is virtually a capital offence: “Officer, officer! That man looked at me!”. “Right then, you’re nicked, my son!”. I’d rather travel by bus given the opportunity – their major disadvantage is that they are so unreliable you have to allow about twice the journey time if you actually have to be somewhere by a given hour. It also allows me to go out of an evening, get happily plastered, fall on a bus, go to sleep and wake up in Catford, Streatham or East Ham. It’s a great way to discover parts of London you wouldn’t otherwise see…

It’s interesting to note the different attitudes countries have to transport. Crossing the road in Amsterdam is a dangerous business; cars go one way, trams another and bicycles exhibit Brownian motion – I keep expecting to see one shooting up out of the sewers – Teenage Mutant Ninja Tandems. The tourists are recognisable because of their harassed expressions and the bike tracks up their backs. The locals still have the tracks, but their expression is the normal benign happiness only to found in the sort of liberal country where Traci Lords videos are legal.

Speaking of which, in the red-light area, things are worse; the streets there have a canal running down the middle making them so narrow that when a car passes you have the choice of flinging yourself into said canal or pressing yourself against a window beyond which, naturally, is a semi-clad brazen hussy. You rapidly learn the international sign language for “No, but thanks for the offer”. You don’t have this problem in The Hague, admittedly. However, you don’t have anything in The Hague – it’s the Farnborough of Holland and whoever made it the capital city was clearly a Ruud Gullit short of a national team. Now that Bonn is heading out of the competition, it’s probably the dullest capital in the world – I saw everything it had to over inside ninety minutes and spent the rest of the day sulking in a cinema. Lots of pedestrian precincts, always a worrying sign since past experience has shown me that these only appear in places no self-respecting car-driver would be seen dead in.

Bert Kaufmann from Roermond, Netherlands, CC BY 2.0 https://creativecommons.org/licenses/by/2.0, via Wikimedia Commons

While this could arguably be considered a dull form of pedestrian heaven, France is without a doubt hell for the visitor on foot. The best advice I can give to anyone trying to cross the road in Paris is “Don’t”, if you can manage without leaving the block your hotel is on, you might just survive. Only might, as Parisian drivers think of pavements the same way Palestinians regard the West Bank: moderate ones believe it’s an area for mutual settlement while the more militant regard it as occupied territory, with the scum i.e. pedestrians to be driven from it in a Holy War. This aggressiveness can be their undoing – I once saw a traffic jam at the Arc de Triomphe where all the cars were stuck solid but were still leaning on their horns. It wouldn’t surprise me to learn it was all caused by a car with a flat battery from excessive horn-blowing.

If you must cross the road, try and find two locals to do it between. Again, this is easy. All Frenchmen look like Gerard Depardieu. All French women under the age of 30 look like Isabelle Adjani (except the ones that look like Emmanuelle Beart). All French women over 30 also look like Isabelle Adjani, but after a very nasty industrial accident involving a blow-torch, an angle grinder and some nitric acid. French women do not, on the whole, age well. They are still capable of moving like greased lightning to get across the road, but they need to be – the only reason France has no world-class sprinters is because the width of the Champs Elysees is not an official recognised distance.

Certainly, if you push your luck on a pedestrian crossing there, you’ll get half way across, look to your left and see the fearsome vision of a row of Citroens driven by proto-Alan Prosts bearing down on you from the next crossing up (the lights are staggered so they have about 100m of clear road to get up speed). They could easily remove the green from all the traffic lights in France as no driver hangs around long enough to notice: even the red light translates as “rev your engine frantically, while inching forward and trying to psych-out the pedestrians”.

Don O’Brien, CC BY 2.0 https://creativecommons.org/licenses/by/2.0, via Wikimedia Commons

My dislike probably partly stems from sour grapes – I’ve failed the driving test twice. The first time was seven years ago, the summer I turned seventeen – my driving instructor was a lady called Margaret, possessor of sharp temper and semi-chain smoker (she’s since died of cancer). My test took place on the hottest day of the summer, adding to the nervous sweat pouring off my brow into my eyes, and leaving me driving around with my eyes shut which seemed to un-nerve the examiner. “Incorrect use of gears” was the phrase she chose to describe my failure, there not being a space on the form for “driving with his eyes shut”.

There then followed a seven-year hiatus. The first four years I was at college and had far better things to do with my money, most of them involving…well, let’s draw a veil over that era. The past three years I’ve been down here and not really too bothered about driving, for the reasons above. However, since there is a plan to head off to the States for a while at some point and by all accounts public transport over there isn’t so hot, I decided it’d be nice to be able to drive. Rather than try to learn in London traffic, I took two weeks off, went home to Scotland and took an intensive (let’s not use the word ‘crash’) course of lessons. My instructor this time was an ex-Army sergeant, who would occasionally relate tales of his time spent Commie-killing in Malaya. Despite this, we got on well, but it was always an uphill struggle to reach test standard in less than two weeks, given that in the preceding seven years’ my sole experience of driving was the odd game of Pole Position in the local amusement arcades.

I failed. “Driving too close to parked cars” was the reason this time – from where I was sitting I thought I was giving them plenty of room, but then, the examiner was a little closer to the situation than I was.  Personally, I’d rather give the room to the moving one – when was the last time you saw a parked car swerve to avoid something?

So now, despite all my best efforts, I’m learning in London. A different driving style altogether is required – give a driver an inch here and he’ll try and park in it – and it takes a bit of getting used to. I thought I was doing brilliantly when my instructor told me to put in for my test after just three lessons but the card with the test date arrived last week and it’s some five months away… No matter, sooner or later I WILL get my licence, and then, tube-topped teenage lovelies, here I come!

The Trash City Film Awards 1990

The votes are in, the envelopes are ready and the audience waits in hushed anticipation for the announcements that can make or break careers: the TC Top Ten Films of 1990!! The awards will be presented by the winner of the Kathleen ‘Crimes of Passion’ Turner Cup, awarded annually to the Actress with the Most Outstanding Nipples. Last year’s Top of the Paps, Patsy ‘Lethal Weapon 2’ Kensit, was a hard act to follow but in ‘Wild at Heart’, Laura Dern stood up magnificently to the task [that’s enough smutty jokes – Ed].

No surprises as to the film of the year. ‘Miracle Mile’ ran me through an emotional spin cycle not once but twice, thanks to an absolute sucker punch ending, which you could see coming but just couldn’t believe. Apart from it, most of 1990’s best were pure entertainment, ‘Tremors’, ‘Darkman’ and ‘Gremlins 2’ being the pick of the bunch; the last named was the only one of the summer blockbusters I felt lived up to it’s budget. At the other end of the scale financially, Peter Jackson, Aki Kaurism„ki and Frank Hennenlotter led the low budget mob, with ‘I Bought a Vampire Motorcycle’ and ‘Hardware’ (narrowly eliminated) proving we can still join in. An international selection this year, six countries being included – Canada, Japan, Finland and New Zealand as well as Britain and the States.

Top 10 Films of 1990 (chronological order)

  • Jesus of Montreal                                                
  • I Bought a Vampire Motorcycle
  • Tremors
  • Miracle Mile
  • Frankenhooker
  • Akira
  • Meet the Feebles
  • Gremlins 2
  • Darkman
  • I Hired A Contract Killer

As well as the new films, there were plenty of old ones to discover. ‘Heathers’ is an exception in that it was seen in 1989, but it just gets better every time I see it (and that’s no small number!). While the ‘new’ list was male-dominated, the ‘classics’ had a large number of actresses, led by Zoe Tamerlis whose performance in ‘Special Effects’ was the best of the year. ‘Date With an Angel’ and ‘Not of This Earth’ were both lust-rentals but contained surprisingly good performances even if Emmanuelle Beart had little to do! For sheer stupidity, ‘Deathstalker II’ was impossible to beat while at the other end of the spectrum was ‘Henry’, hammering another nail in Freddy’s coffin…

Top 10 ‘Classics’ of 1990

  • Henry, Portrait of a Serial Killer
  • Not of This Earth
  • Queen of Outer Space
  • Deathstalker II
  • Dead Man Walking
  • A Chinese Ghost Story
  • Date With an Angel
  • Heathers
  • Special Effects
  • Raising Arizona

Honorary mentions:

Hardware, Faceless, Wild At Heart, Psych-Out, Last Exit to Brooklyn, The Kiss, Bride of Re-Animator, Black Rain, A Short Film About Killing, Bride of the Monster, Night Hawks, Revenge of the Nerds, TCM III, Xtro, Mr Vampire Pt 4, The Killer, In the Line of Duty 4, Blind Fury, A Chinese Ghost Story 2 and Celia.

Three-Pin Plugs

Hugh Gallagher, of Main Force Pictures, Illinois, sent a flyer for a movie he’s writing, producing and directing. Rejoicing in the title of ‘Gorgasm’, it’s about a detective working on a homicide case which leads him “into a dark world of sadism and torture”. It stars Rik Billock and Raisa Hebra, the latter of whom appeared in ‘Easy-Riders Centrefold’. Some instinct (not to mention the stills they sent) tells me it’ll be pleasantly sleazy… More info: Main Force Pictures, PO Box 115, Moro, IL 62067, USA.

On the cultured side, the Edinburgh Film Guild is holding a course of evening film-study session for five weeks from January 17th. It’s examining the work of Val Lewton, producer of many cult classic movies for RKO in the 40’s, including the original ‘Cat People’ which was remade in the 80’s, starring some German actress whose name escapes me for the moment… Nine films are going to be shown, the cost is œ12.50 and there are only thirty places available. More details from Jim Dunnigan, Education, Edinburgh Film Guild, The Filmhouse, 88 Lothian Road, Edinburgh, EH3 9BZ. Tel. 031-228 6382/3.

Malibu Graphics keep sending me promotional material at regular intervals for no apparent reason, so they deserve a mention. Let’s advertise their series ‘Dead Walkers’, which I guess is a follow-up to their zombie comic, ‘The Walking Dead’. It sells in both gross and not-so-gross covers, depending on your taste, a nice twist on a theme, since the same company are responsible for ‘Leather and Lace’, for some time available in adult and regular versions. That comic, together with ‘Black Kiss’, were seized by police during a raid on Birmingham’s Nostalgia & Comics bookstore, who have stocked TC. This raid was provoked by a typically scandal-mongering local rag, the Birmingham Daily News – never mind that the comics in question were only on sale to adults and came in sealed plastic bags! Predictable reactions of shock and disgust from local MP, Clare “I don’t like it so let’s ban it” Short followed. N&C deserve your support if you’re in the area, and are at 14-16 Smallbrook Queensway, Birmingham.

If you want your own copy of ‘Zombie 90’ (see Film Blitz) or ‘Violent Shit’, send £19.99 for the former, £17.99 for the latter or £35 for both to Reel Gore Productions, Steve Aquilina, Rudolf-Kinau Weg 1, 2082 Uetersen, W.Germany. This includes p&p, payment by cash or Eurocheque and delivery is from England in about 14 days. And Black Sunday 5, the Manchester/Edinburgh version (generally regarded to be the better half, going on the B.S. 4’s) is on for February/March. That’s the word from Dave Bryan, who phoned to let me know about it and promised a press release – it hasn’t arrived yet so this’ll have to do! Send an SAE to 51 Thatch Leach Lane, Whitefield, Manchester, M25 6EN.

Samhain is a ‘zine I rarely mention here because it seems perilously close to bum-licking since you’re probably aware of it already. In the past a significant number of TC’s readers have said to me that since the demise of Shock Xpress, Samhain has gradually drifted downhill – I tended to disagree, but must admit the issue 24 is of a seriously lower standard (lack of competition perhaps?), the nadir of which is the phrase in a review, “anyone who can honestly say they enjoy this…must be mentally retarded”. Scarcely film journalism at it’s best, I’ll take author Ian Calcutt on at Trivial Pursuit any day! Elsewhere, they slag off a ‘zine for printing a year-old interview while themselves running a Rob Bottin piece dating from before ‘Legend’, have a chat with Phoebe Legere which reads like treacle (in 3 consecutive sentences, “and” occurs a total of twelve times!) and otherwise, after removing competitions and other ephemera, there’s not much left. There’s still some excellent sections and it looks great but it doesn’t seem as good as it used to. It’d be a shame if it went the way of a certain American magazine.

Having blown our hopes of a mention the next issue (hell, the last one they included was TC5 anyway!), let’s look at the publishing empire of Tim Paxton, who sent a whole load of stuff from his high-school project of 10 years ago up to copies of his current publications Monster (8 A5, $11/yr = 24 issues) and Naked! Screaming! Terror! (24 A5, $2 + 2 IRCs) which look at (surprise!) monster movies and films of the 70’s, though I suspect the latter has a different theme every issue. Both are nicely written, with an informal feel I like, even if the man needs his eyes tested – see the letter column! Getting their bribery in early, Psychotic Reaction 2 (18 A4, 50p?) is the first ‘zine I’ve seen to review illicit pharmaceuticals. There’s also a load of film reviews and books too, not to mention the nifty Psychotic Reaction T-shirts which I possess one of and it’s a fine substitute till those TC-shirts are sorted out!

Douglas Angel goes back to his past, reprinting The Absolute 1 (12 A5, 20p – that may be the original price!) from the start of the 80’s. A braver man than I am (TC0 is firmly out of print) but then, this is certainly looks nicer than TC0. Comics-oriented, it includes his list of desired issues, now presumably hideously incorrect! After some time, Rick Sullivan’s Gore Gazette 102 (10 A4, $1 or so) makes a welcome return – slagged off in the Village Voice for supposedly racist views, Rick decided to jack it in but wiser forces prevailed and he’s continuing for the moment. The best of the US rant-zines, no contest.

Strange Adventures 22 (20 A4, 95p) is the usual eclectic mix of books, films, comics, videos and TV, best summed up by adjacent reviews of ‘The Little Mermaid’ and ‘Meet the Feebles’! Bound to be something of interest in this for everyone. After what seems like forever, Fantasynopsis 3 (56 A4, œ1.95) is here, taking ‘infrequent’ to new dimensions. But it’s worth the wait – glossy, lovely picture quality (jealousy!) and in-depth articles on ‘Don’t Look Now’ and ‘Manhunter’. Most improved layout goes to Bloody Hell 2 (24 A4, £1.50), doing their bit for the rain-forests by printing on both sides of the paper this time round. Concentrating on Abel Ferrara’s films this time, something of a mixed blessing since it means a ‘Driller Killer’ piece as well as one on the wonderful ‘Ms.45’. BH tries to defend the entire genre as artistically worthy, a bravely stubborn stance beyond my comprehension!

The first half of Sheer Filth 9 (32 A5, 75p) is worrying, reviews of performance artists and that sort of thing. The second half is fortunately the SF we know & love, philosophical discussions on unmentionable topics, reviews of weird product and a letter page that defies description totally. Vital reading for sleaze-hounds. Norma K 2 (32 A5, £1) is devoted to the works of Traci Lords – Steve Rag knows his stuff and it’s got a good selection of pictures. I admit ripping off one for our article, in desperation – sorry, Steve, I’ll buy you a pint some time! So as a deadline breathes down my neck, Midnight in Hell 5 (20 A4, £1) is a victim of it’s own quality: there’s no way I can read it before the deadline catches up wi…

  • The Absolute – Douglas Angel, 69 Chestnut Ave, Bradwell, Gt.Yarmouth, Norfolk, NR31 8PL.
  • Bloody Hell! – David Prothero, 11 Clos-Yr-Wenallt, Rhiwbina, Cardiff, CF4 6TW.
  • Fantasynopsis – Paul J.Brown, 1 Bascraft Way, Godmanchester, Huntingdon, Cambs PE18 8EG.
  • Gore Gazette – c/o Sullivan, 469 Hazel Street, Clifton, N.J. 07011, USA.
  • Midnight in Hell – George Houston,The Cottage,Smithy Brae, Kilmalcolm, Renfrewshire, PA13 4EN.
  • Monster + N!S!T! – Kronos Publications, MPO Box 67, Oberlin, Ohio 44074-0067, USA.
  • Norma K – Steve Rag, 118 High Street, Eastleigh, Hants, SO5 5LR.
  • Psychotic Reaction – Spencer Hickman, 50 Wingfield Road, Great Barr, Birmingham, B42 2QD.
  • Sheer Filth – 39 Holly Street, Offerton, Stockport, SK1 4DP.
  • Strange Adventures – Tony Lee, 13 Hazely Combe, Arreton, Isle of Wight, PO30 3AJ.

High Weirdness by Mail

This letter column is brought to you under the influence of some industrial strength throat lozenges, though I’m feeling a lot better since I phoned into work and told them I wouldn’t be coming in today… Let’s start with other things clearly written under the influence of something…

Ronan Farrell, Drogheda, Eire – We just had our presidential elections the other day – I voted for a puppet that appears on kids’ television over here. He’s a turkey and his name’s Dustin Hoffman and he appears with two others called Zig and Zag. This  isn’t  what you think, they really are brilliant, not like that stupid fucking duck of Gordon the Goper [???] you have over there. These three get away with murder, their humour is better than Python at it’s best. Dustin was running for president and was going to change the National Anthem to Neil Diamond’s “Sweet Caroline”. I can’t do them justice here, next time you meet a Paddy emigrant over there, ask him/her about Zig and Zag and Dustin. Unless they’re humourless bastards, they’ll be able to fill you in on how dangerously funny they are.

Pete Sheppard, London – What do the letters ACME stand for in the Roadrunner cartoons? I have seen one of them in which the full name was given and thought “Ah, that’s what they stand for”. Unfortunately, that’s all I remember (all I remember about ACME that is, I can remember loads of other stuff like my name, date of birth, etc…).

Andy Allard, Hull – You have my vote on a T shirt…How about a pic of her [Wendy James] and Winona Ryder (who I personally thought was fucking gorgeous in ‘Great Balls of Fire’ when Dennis Quaid takes her cherry at the age of 13) in some form of lesbian sex act? How about Miss Ryder, legs splayed with Wendy going down on her and lots of love juices flying all over the place? If you go for that idea, put me down for half a dozen before the respective lawyers take you for every penny you’ve got.

Mick Slatter, Crawley – It seems we’re fated to disagree on just about everything… I hated the Guinness ads, loved ‘Carnival of Souls’ and was singularly unimpressed with ‘Miracle Mile’, but the worst is yet to come. Steel yourself, ‘cos in all honesty I ner liked Ms.Kinski, sorry, she just does nothing for me, though her father is sexy as hell [???]. Linda Blair and Claudia Christian are my kinda girls (just to give you some ammunition for revenge). By the way I don’t have two heads, but I do have three tongues.

Tim Paxton, Oberlin, Ohio – Loved Trash City, especially what’s her name on the back cover – Mark E. Smith’s ex, right? I can’t recall her name, I even have some of her records. Of course, my imagination could be running away with me.

That was Nastassja Kinski, Tim – the letter bomb’s in the post. As usual, people have kindly [grits teeth] been filling in gaps in the filmographies in TC6.

Dan Pydynkowski, Danvers, USA Monique Gabrielle has appeared in: Electric Blue 32, 33, 35, Return of Swamp Thing, Love Scenes, Fantasies: Romantic Moves (2 vignettes), The Big Bet, Playboy’s Private Party Jokes, Young Lady Chatterly 2, Chained Heat [+Sybil in these 2], Hollywood Erotic Film Festival (“He Believes” segment), Penthouse Video:Penthouse Love Stories (2 vignettes), Cheap Trick video “Up the Creek”, Transylvania Twist and Silk 2. And she was a centrefold in ‘Playboy’ – Dec.82, I think.

Julian Grainger, Yalding, Kent – As to the Hauer films, the most obvious omission is the M.Caine/S.Poitier movie ‘The Wilby Conspiracy’ – 1975.

Glyn Williams, Derby – The filmography has omitted a 1974 German soft-porn movie called ‘Dandelions’ in which Hauer played “a cold, sadistic leather boy in search of his fantasy girl”. The film stayed buried until 1987 when it was dubbed into English and released in the US to cash in on his success with ‘The Hitcher’… I found Andrew McGavin’s horror cliches amusing, although I’m sure there are plenty of others…

— a) The opening minutes of the film show massive Stalk ‘n’ Slash carnage in which the entire cast are apparently disposed of, even before the opening titles have appeared. And then there’s the inevitable out of shot cry of ‘Cut!’ and the camera pulls back to show that we’ve been watching the action taking place on a filmset. This, of course, means that all of the cast have the opportunity to die twice during the film.

— b) The heroine is suddenly confronted by a man with a gun. As her eyes grow wider, he slowly raises the gun, points it at her head and – BANG! Behind, the girl a snake, poised to strike, explodes.

— c) Girl trying to escape from the killer desperately hides in a wardrobe, under a bed, inside a rickety old outhouse, etc. As the killer draws near, the body of a minor cast member (who disappeared from the action half an hour ago) slowly topples out of the surrounding shadows…

— d) Girl kills killer. Girl has to step over bullet-riddled form of obviously dead body. Hand grips ankle.

…I will, however, leap to the defence of Ms Kinski: if she wasn’t very nice during the filming of ‘Revolution’ [letters, TC7], it was probably because (a) she wasn’t very well and (b) she was probably aware that she was involved with a major cinematic turkey which wasn’t going to do her career any good at all.

And finally, evidence sanity has returned to at least one of our readers.

Ronan Farrell – P.S. Jesus, I can’t believe I wrote that bit about Zig and Zag!

Some Chinese Ghost Stories

With ‘Ghost’, Hollywood would seem to have discovered the ability of the dead to be big box-office, but film-makers in Hong Kong have been aware of this for far longer, and regularly produce interesting and exciting films.

The dead in Oriental mythology seem to be much like the living, and there lies the problem. Because you can hardly distinguish between ghosts and real people, until the former start showing off their powers, it’s very easy to make the mistake of, say, falling in love with a ghost and this can cause no end of difficulties. Breaking up with a vengeful girl is bad enough, but when she possesses supernatural powers capable of blowing holes in space and time, things are even more tricky. Cute female ghosts are only part of the population of the underworld. Rather less pleasant are the vampires, usually skilled in martial arts – no Bela Lugosi lookalikes these, they may be recognised by their hopping motion which may seem comic, at least until they start draining your blood…

Fortunately, humans are not defenceless and certain measure are effective: there are phrases which when spoken or written, can provide protection – in extreme cases, these may be written on the skin but great care must be taken to cover the whole body or you will suffer the fate of a character in ‘Kwaidan’, who neglected his ears and had them ripped off as a result.Priests are also of use, though there is little similarity to their Occidental counterparts – these men of the cloth are just as likely to decapitate as exorcise, and are capable of hurling bolts of force from their fingers.

Of all the films of this genre to have come out of the Far East in recent years, one of the best is universally agreed to be ‘A Chinese Ghost Story’. This was produced by Tsui Hark (who was born in Vietnam but studied at the University of Texas before going to Hong Kong), the director of a string of successful movies beginning with ‘The Butterfly Murders’, the proceeds from which were used to set up the Film Workshop production company with his wife. This specializes in films combining traditional and modern elements – stories are often based on Chinese folklore while the camerawork is straight out of the box marked ‘Sam Raimi’.

Director Ching Siu Tung had no formal training, but worked his way up the cinema ladder, beginning as a stuntman, then being given his own action sequences to direct before finally graduating to a fully fledged feature with ‘Duel to the Death’. While there may remain a nagging feeling that Tsui Hark is as much responsible for the final product as Ching Siu Tung was, it’s all totally irrelevant to anyone’s enjoyment!

As you might expect from a film which credits five action choreographers and four cinematographers, it’s both action-packed and visually stunning. The pace gradually accelerates in each fight scene from the first, which is almost standard kung-fu material, to the last, a climactic battle in hell itself which is unlikely to resemble anything you’ve seen in aWestern movie. Gravity rarely seems to operate in the same direction for two successive camera shots, and the editing is absolutely lightning-fast – fifty or sixty cuts per minute is not uncommon. All of this takes place in a curiously indeterminate era, only to be found in the movies – it’s generally historical but with just enough anachronisms to make you wonder.

The story is from a collection of Ming Dynasty tales, which also provided the inspiration for the earlier ‘A Touch of Zen’. A traveller, in the film a tax-collector, spends the night in a disused temple and sees a beautiful girl there. Unsurprisingly (if you’ve read the second paragraph), she turns out to be a spirit and the rest of the movie concerns his struggle to allow her soul to rest in peace. He is helped and hindered by a Taoist priest, an odd bloke with serious sword skills and a tendency to rap Taoist philosophy. He’s played by Wu Ma, a director in his own right – his films include ‘The Dead and the Deadly’. The hero Leslie Cheung, on the other hand, is in ‘real life’ a pop idol with a slightly effeminate image – the local equivalent of Jason Donovan, say. Anyway, if there’s one thing that Hollywood and Hong Kong have in common, it’s their belief in sequels, so it was no surprise to learn of the imminent arrival of:

A Chinese Ghost Story 2 (Ching Siu Tung) – Leslie Cheung, Joey Wang, Jacky Cheung, Wu Ma.

Our heroic tax-collector, Ning Tsai-Shen (Leslie Cheung) is still unable to stay out of trouble for long! His first encounter is with the bounty-hunters seen in the original, who mistake him for a wanted criminal and haul him off to jail despite his protests. He is thrown in beside Elder Chu (Ku Feng), a philosopher and author who has found he has less trouble with the authorities if he just stays in prison. When Tsai-Shen is about to be executed, Chu helps him escape through a tunnel – outside, he steals a horse belonging to Autumn (Jacky Cheung), a Taoist priest who follows using his favourite mode of travel, underground!

The two meet and sort out the confusion at the ill-named Righteous Villa, containing eight coffins, which gives Tsai-Shen bad vibes. Justifiably so, it seems, as a coffin lid starts to move… Tsai-Shen runs into the forest, where ghost-like forms appear, but after Autumn demonstrates his ability to freeze people with a spell, the pair discover the spirits are a guerilla band, led by two girls Windy and Moon Fu, the former of whom (played by Joey Wang) bears an uncanny resemblance to Tsai-Shen’s love in the first film. They’re trying to rescue their father Lord Fu, who is being taken in chains to the Emperor. They mistake Tsai-Shen for Elder Chu in disguise, mis-interpret a poem he’s carrying as instructions on how to rescue their father and rush off to do so.

Ning and Autumn are left behind – Autumn tries to teach Ning how to use the Freeze! spell, but Ning gets it slightly wrong and manges to paralyze Autumn instead – unfortunate, as this is the moment the creature from the coffin, looking a little like Rawhead Rex, chooses to appear. This leads to a hysterically funny scene where Ning tries to discover from Autumn, who can only communicate with his eyes, how to dispel the magic while simultaneously trying to avoid the monster.

All the plot elements come together, as the guerilla band, the soldiers transporting Lord Fu, Autumn and Ning and the Emperor’s High Priest all arrive at the villas at more or less the same instant. To give away much more of the plot would be a heinous crime (ok – I fell asleep and missed a bit, c’mon, it was a late-night showing!), but it includes demonic possession, vampirism and an enormous centipede.

Virtually all the cast are back, together with director Tung, producer Tsui Hark and a $26 million dollar budget, and the results are suitably spectacular if perhaps a little lacking in the ‘narrative coherence’ department (the resume above was the result of combining two people’s interpretations and extracting common factors!). Unlike the original, which built steadily to a climax, this one plunges in at the deep end and this does mean that the ending is something of a let-down. It’s still breath-taking stuff, however, with all the elements we’ve come to expect from Tsui Hark movies. Relentlessly entertaining, let’s hope it gets a better release than the original did.

Tsui Hark directography

  • 1979 – The Butterfly Murders
  • 1980 – We Are Going to Eat You
  • 1980 – Dangerous Encounter of the 1st Kind, a.k.a Don’t Play With Fire
  • 1981 – All the Wrong Clues
  • 1983 – Zu: Warriors from the Magic Mountain
  • 1984 – Aces Go Places III a.k.a Our Man From Bond Street
  • 1984 – Shanghai Blues
  • 1985 – Working Class
  • 1986 – Peking Opera Blues
  • 1989 – A Better Tomorrow III
  • 1990 – Swordsman (line dir)