Famous as the Shaw Brothers are for kung fu flicks above all, it seems strange to every now and again watch one of their works that embraces fantasy or outright horror. Of course, there are also those titles that combine genres, like 1982's 'Human lanterns,' and in this case, 1983's 'Portrait in crystal.' Fantastical underpinnings for the narrative are tossed together with some majorly violent or ghastly imagery, and to my delight the action is defined by those martial arts that the studio is famous for (and garnished with some comedy to taste). This isn't without its faults, but by and large it's just as well made as we expect of the production company, and I'd be lying if I said it weren't highly entertaining.
The issues that limit the value here are few, but they are noteworthy and significant enough that it's important to mention them straightaway. The finished film is cut in such a manner as to force every scene through a grinder; one genuinely runs the risk of missing a lot if we blink at the wrong moment. The incidence is so substantial here that one is reminded of the penchant in silent comedies for speeding up footage for comedic effect, except the application here is borne throughout the entirety of the length, and one quite has to reduce the playback speed just to get the most out of the viewing experience. Even setting aside that odd trait the plot advances swiftly - which is extra unfortunate since this isn't entirely clear about details of its story. It's readily evident that crystal spirits are somehow involved in a string of murders as characters set about investigating, and yet: Who are these characters? What are their relationships to each other? Where are they going? Are figures dressed in elaborate sartorial arrangements crystal spirits, or living people, or both? I sat for these eighty minutes, and necessarily reduced the playback speed three times, and I'm still not confident that I have all the answers to these questions. Add the high variation in tone thanks to those moments intended for comedy beyond the action, fantasy, and horror, and watching 'Portrait in crystal' is considerably less than perfectly smooth.
Yet it says so much about Shaw Brothers, and those involved with this picture specifically, that it nevertheless is as fun and satisfying as it is. The stunts and action sequences are utterly superb, putting the "art" in "martial arts" at the same time that they're splendidly exciting and distinctly violent and bloody. The practical effects are outstanding; post-production additions are employed sparingly, but even though they are modest they are fitting for the nature of the material and come off well. The sets are as imaginative, detailed, and outright beautiful as those in any period piece the studio has ever given us, which is to say they are of only the utmost quality - and in fact may even be superior to the nearest points of comparison. This quite goes for the costume design, hair, and makeup, too, not to mention props and weapons, and whether the nature of the visuals in a moment are geared toward the period setting, the more fanciful elements, or the more gruesome ones, at all times they are a feast for the eyes and rather make 'Portrait in crystal' worth watching all by themselves. This is to say nothing of extremely sharp editing (though I plainly disagree with some of the choices made in that capacity), the smart and dynamic cinematography, or the firm direction that very capably capitalizes on the strengths of any given scene to make the movie as striking and absorbing as it possibly could be. Even the cast perform admirably, and acting isn't even the most important factor in fare such as this.
With vibrant and creative use of lighting on top of everything else, this really is a terrifically well made, fabulously enjoyable feature. Whatever flavor we're being treated to at a specific point - magnificent and fast-paced action, far-flung magical whimsy, or abject disturbing horror - there's much to love about this, and it keeps us solidly spellbound for all the tremendous skill, care, and intelligence that is reflected in every regard. I include in this the original music that often employs more unusual chords, instrumentation, and playfulness than in most similar contemporary fare; rather reminded of videogame music from 8-bit or 16-bit console systems. And while the minutiae of the storytelling gets lost in the rush to supply the resplendent, varied zest of the constituent genres, the broad strokes of the tale are sufficient to provide a framework. Anyway, it's the scene writing that's most important here as it provides the foundation for all the visuals and the delectable spiciness we crave, and that foundation is very sturdy indeed, and in no few instances very clever. I only wish that more a more mindful, judicious approach had been taken toward the construction of this title, because those few flaws with which it is marked are enough to place emphatic upper limits on all that it otherwise represents. If the pacing weren't so ridiculously rapid, requiring active modification of the playback, and if more thought had been put into identifying characters and their place in the narrative, the end result could only have benefited.
Still, far more than not, the picture is just a blast. It's troubled in at least a couple very distinct and critical ways, but the value that 'Portrait in crystal' possesses is so marvelously robust that it handily outweighs the all too reasonable and crucial detractions. In light of those detractions I can't say I would offer a blanket recommendation here, for it's understandable that some viewers would be put off by those areas where the movie falls short. Provided these are not an insurmountable obstacle, however, this swirl of action, fantasy, and horror is so stupendously strong, engrossing, and rewarding that it remains well worth seeking out and watching, however one must go about it. Be keenly aware of the effort that the viewing experience requires, but even at that 'Portrait in crystal' is well worth checking out!
