A Chinese Ghost Story I Ii Iii -1987-1990-1991-... 🔥

The A Chinese Ghost Story trilogy, released between 1987 and 1991, is a landmark of Hong Kong cinema that redefined the supernatural fantasy genre by blending "wire-fu" action, slapstick comedy, and gothic romance. Produced by Tsui Hark and directed by Ching Siu-tung, the series became a global cult phenomenon, known for its "Spielbergian" special effects and its hauntingly beautiful leads, Leslie Cheung and Joey Wang. 1. A Chinese Ghost Story (1987)

The original film is loosely based on a short story from Pu Songling’s 17th-century collection, Strange Stories from a Chinese Studio.

The Story: A bumbling and timid tax collector, Ning Choi-san (Leslie Cheung), seeks shelter in the abandoned Orchid Temple. There, he falls for the ethereal Nie Xiaoqian (Joey Wang), unaware she is a ghost enslaved by a terrifying, thousand-year-old Tree Demon (Lau Siu-ming) with a lethal, elongated tongue. Key Highlights:

The iconic "underwater kiss" scene where Xiaoqian hides Ning from her master in a bath.

The dynamic performance of Wu Ma as the eccentric, sword-wielding Taoist monk Yin Chek-ha.

Revolutionary practical effects, including stop-motion zombies and giant puppet tongues. 2. A Chinese Ghost Story II (1990)

Picking up directly after the events of the first film, the sequel shifts toward a more political and "bonkers" narrative. Go to product viewer dialog for this item. A Chinese Ghost Story Trilogy (BLU)

A Chinese Ghost Story trilogy (1987, 1990, 1991) is a cornerstone of Hong Kong's "Golden Age" cinema, blending supernatural horror, martial arts, and tragic romance. Produced by and directed by Ching Siu-tung A chinese ghost story I II III -1987-1990-1991-...

, the series revitalized the ghost-story genre through innovative "pre-CGI" practical effects and wire-work. Key Features of the Trilogy The Original (1987): Inspired by the classic tale "Nie Xiaoqian" from Strange Stories from a Chinese Studio

, it follows a bumbling tax collector (Leslie Cheung) who falls for a ghost (Joey Wang) enslaved by a tree demon. The Sequel (1990):

Leslie Cheung returns as Ning, who gets caught in a plot involving rebellious sisters and a monstrous demon monk. The Third Installment (1991): Set 100 years after the first, it stars Tony Leung

as a young monk battling the reawakened Tree Devil. It largely mirrors the original's structure but adds comedic elements centered on his vow of celibacy. Fascinating Production Trivia A Chinese Ghost Story Trilogy Blu-Ray - Orbit DVD

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Title: A Chinese Ghost Story I, II & III (1987–1990–1991): The Tragic, Beautiful, and Bizarre Hong Kong Fantasy Trilogy

If you think you know ghost stories, think again. The A Chinese Ghost Story trilogy (originally Sinnui yauman), produced by Tsui Hark and directed by Ching Siu-tung, redefined the wuxia-horror-romance genre. But what makes this trilogy so unforgettable? Let’s break it down. The A Chinese Ghost Story trilogy, released between

Part I (1987): The Tragic Love Story
Leslie Cheung as the hapless debt collector Ning Caichen, Joey Wong as the ethereal ghost聂小倩 (Nie Xiaoqian)—their chemistry is heartbreaking. The film blends supernatural terror, Taoist exorcists (Wu Ma as the iconic Swordsman Yan), and a doomed romance. The tree demon (Lau Siu-ming) is pure nightmare fuel. The bamboo-lodge fight scenes? Still breathtaking.

Part II (1990): Bigger, Louder, More Political
Following the success, the sequel ups the scale. Ning Caichen is mistaken for a rebel, fights a centipede demon, and teams up with a female swordsman (Michelle Reis) and a cheeky monk (Jacky Cheung!). Less romance, more action. But some argue the soul of the first film gets lost in the chaos. Still, the flying guillotine-like magic and Buddhist imagery are stunning.

Part III (1991): A Bittersweet “Soft Reboot”
Set 100 years later, a new monk (Tony Leung Chiu-wai, very young and monk-ish) battles the same tree demon and falls for a different ghost (Joey Wong again—now playing a seductive spirit). The tone is darker, more erotic, and more tragic. Wang Zu-xian’s double role cleverly echoes the first film but ends in devastation. Tony Leung and Joey Wong are magnetic.

Why Watch?

  • Visuals: Wire-fu, rain-soaked forests, and pre-CGI practical effects that still dazzle.
  • Music: The theme song, Road to Dawn (sung by Leslie Cheung), is iconic.
  • Legacy: Influenced Crouching Tiger, The Bride with White Hair, and even Pirates of the Caribbean (yes, really—some sword-fight choreography was reused).

Final Verdict
Part I is a masterpiece. Part II is messy fun. Part III is a sad, poetic echo. Together, they capture a moment when Hong Kong cinema was fearless—mixing horror, martial arts, and romance with beautiful, haunting results.

Have you seen them? Which ghost broke your heart the most?

Overview

"A Chinese Ghost Story" refers primarily to a Hong Kong film series inspired by Pu Songling’s short story collection Liaozhai Zhiyi. The trilogy combines romance, supernatural horror, wuxia action, and dark comedy, notable for its atmospheric cinematography, special effects for the era, and fusion of traditional Chinese folklore with modern filmmaking. Title: A Chinese Ghost Story I, II &

Notable Cast & Crew

  • Director: Ching Siu-tung (action/directing), Tsui Hark (producer on the first)
  • Leads (1987): Leslie Cheung (Ning), Joey Wong (Nie Xiaoqian), Wu Ma (Taoist priest)
  • Recurring strengths: strong lead chemistry, memorable villain designs, and elaborate action sequences.

Part I: A Chinese Ghost Story (1987) – The Blueprint of Longing

The plot is deceptively simple: A timid, debt-ridden tax collector, Ning Caishan (Leslie Cheung), seeks shelter for the night at the infamous Orchid Temple. There, he falls desperately in love with the ethereal beauty Nie Xiaoqian (Joey Wong). The catch? She is a ghost, enslaved by a terrifying, thousand-year-old tree demon (Lau Siu-ming) who demands she lure mortal men to their deaths.

Why it endures: The chemistry between Leslie Cheung and Joey Wong is the stuff of cinematic legend. Cheung’s boyish vulnerability contrasts perfectly with Wong’s tragic sensuality. But the film’s secret weapon is the Taoist swordsman, Yin Chek Ha (Wu Ma)—a drunken, disheveled, but lethal exorcist who steals every scene.

Director Ching Siu-tung, a former choreographer, treated wirework like ballet. Characters run up walls, fly across lakes, and fight with glowing swords. The climax—where Ning desperately pulls Xiaoqian’s ashes from the tree demon’s roots as dawn breaks—is one of the most heartbreaking in cinema history.

The Legacy: Why We Can't Forget Them

The trilogy is a time capsule of Hong Kong cinema's golden age (1986–1993).

  1. The Death of an Era: Leslie Cheung (committed suicide in 2003) and Joey Wong (retired a recluse) never made films like these again. Watching these movies feels like attending a funeral for a specific kind of romantic masculinity—brave enough to cry, tender enough to hold a ghost.
  2. The Yin Chek-ha Paradox: Wu Ma (who passed away in 2014) created the greatest "supporting character" in action history. His Taoist is messy, he uses a glue pot as a weapon, and he writes spells on his tongue. He is the heart of the trilogy.
  3. Remakes: A 2011 remake starring Liu Yifei attempted to capture the magic but failed because it tried to explain the mythology. The originals worked because they felt dreamlike—you never question why a ghost can fly or why a tree has a forked tongue.

Part II: A Chinese Ghost Story II (1990) – The Political Monster

Following the massive success of the original, Tsui Hark opted for scale over intimacy. Part II is not a direct sequel but a re-imagining. Leslie Cheung returns as a different “Ning” (now a disgraced scholar), while Joey Wong returns, confusingly, as a different ghost (a cheerful, non-enslaved spirit named Ching).

The stakes escalate wildly. The villain is no longer just a tree demon, but a centipede demon who has possessed the Prime Minister and is turning the kingdom into a dystopian nightmare. This sequel introduces one of the great characters of the era: Wind, Sword, and Snow (Michelle Reis) and the monk’s chant "Bor Bei Bor Bei" (般若波羅蜜)—a pop-culture earworm.

Key takeaway: Part II trades gothic romance for political allegory and insane action. The final battle, featuring a giant golden Buddha statue fighting a centipede, is a masterpiece of stop-motion and scale models. While less cohesive than Part I, it is arguably more fun.