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On the other hand, A Chinese Ghost Story II lacks a dramatic drive to its plot.
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The most accomplished sequence is the scene where the heroes are pursued by the giant monster and fend it off with a magic hand sigil that freezes and unfreezes it, ending with the accidentally frozen magician Jackie Cheung trying to communicate by rolling his eyes, the monster frozen with its claws almost around Leslie Cheung’s neck, its saliva dripping onto his head and his sweat slowly erasing the symbol on his palm. Leslie Cheung meets Joey Wong, a ringer for his lost ghost loveĬertainly, when it comes to the comedy, Ching Siu-Tung conducts some snappy reversals based on mistaken identity and misinterpretations. A Chinese Ghost Story II is not quite as accomplished as the original in its extraordinary blend of outré Asian fantasy, lyrical poetry and humour. Producer Tsui Hark later oversaw the animated A Chinese Ghost Story: A Tsui Hark Animation (1997), while A Chinese Ghost Story (2011) was a poor remake of the original.Ī Chinese Ghost Story II repeats all the basics of the original – Leslie Cheung’s comic tax inspector, his being forced to stay at a haunted temple, evil minions of the underworld, the wild martial arts moves and Joey Wong written in not as the ghost love from the first film but another girl who resembles her in all ways. Most would also return for a further sequel A Chinese Ghost Story III (1991). Director Ching Siu-Tung, producer Tsui Hark and all the stars of the original reteamed for this likable but lesser sequel. Its success was influential on much of Hong Kongese Wu Xia cinema of the 1990s. A Chinese Ghost Story (1987) was a huge hit in Hong Kong and a substantial crossover in the West.