It's noteworthy from the very start that this meets all the high standards one expects of Hong Kong action flicks generally, and Shaw Brothers productions specifically. The sets are absolutely magnificent, overflowing with incredible detail, and whether the pieces are conventionally fetching or gnarly and horrific, I would love to be able to explore every inch of Ching-Shen Chen's art direction. Much the same unquestionably applies to the costume design, hair, makeup, and props and weapons - elements that, depending on the precise setting, vary between the typical imaginative, gorgeous aesthetics of any similar period fare, and grotesque, brutal, blood-soaked ugliness. The very premise lays the groundwork for the folks operating behind the scenes to just let their creativity run wild, and make no mistake, they unflinchingly embraced the horror-laden spirit with gusto. Even cinematographer An-Sung Tsao seems to rather let loose here, for while his work is active and dynamic in the first place, and very mindful when it comes to letting us see the action in any given scene, there are also plentiful instances here where the camerawork is pointedly exaggerated and playful in one way or another, all but flying off the proverbial handle. Even just in its basic visuals 'Human lanterns' is a splendid, exuberant ride of whimsy.
It makes that impression from the very start, and for as quickly as the feature moves forward, it never even gives us a chance to change our minds. This especially holds true as the picture blends two discrete genres that are rarely put together: the fluid, dazzling artistry and high-impact action of kung fu, and the nasty, visceral darkness of horror. All the many stunts, effects, and choreography that we get in both capacities are a supreme joy, conjured and executed with marvelous, captivating skill and intelligence - to excite, to thrill, and to repulse. With some sequences being given an extra edge of fancifulness (think of characters running on trees or flying through the air in 'Crouching tiger, hidden dragon') the effect is only magnified. And between the strong, pronounced acting of everyone in the cast, performances of personality and vigor, and the equally robust direction that ensures every moment is as vivid and vibrant as it can be, the unfailing result is a viewing experience that keeps us firmly locked in for the entirety of its ninety-odd minutes.
Especially earlier in the length, I do think there are times when the genre stylings are more deliberate in their dispensation, with dialogue filling these portions instead; at such times the pacing is ever so slightly curbed, to the movie's detriment. Yet such moments are few, and pale in comparison to the treasure trove of action and horror that we mostly get. Filmmaker Chung Sun and co-writer Kuang Ni penned a delicious screenplay with sharp, potent, and rather emphatic scene writing providing firm, flavorful definition to a narrative of proud and arrogant nobles, and the psychotic killer with a certain special trade. Granted, the connections between these threads are kind of thin, but the plot is all that it needs to be to set the stage for the spectacle of violence and madness; just as much to the point, 'Human lanterns' definitely knows what its intentions and strengths are, and it plays directly to them. The writing is but the canvas on which is painted the spectacle of violence and craftsmanship, and whether one is here for the kung fu, the horror, or all the wonderment we rightly assume of Shaw Brothers films, the entertainment and reward is outstanding.
As a matter of personal preference I can understand how this won't appeal to all comers. There are points that one could reasonably nitpick, and it bears repeating that the writing is surely chief among them. Yet whatever critiques one may lob at this 1982 title are easily outshone by the tremendous care and hard work that was poured into this from all involved The cast and crew turned in utterly fantastic contributions in every regard, and the all the genre elements, martial arts and nefarious doings alike, make for a rich, spellbinding tableau. In terms of neither aspect is the movie the peak of its respective genres, yet this is all-around tight and vicious, and fabulously fun and satisfying. For my money this is worth far more than whatever one might have to pay to watch it, and 'Human lanterns' is a far-out, rather brilliant slice of cinema that deserves much more recognition. If you have the chance to watch, I'm happy to give this my very high, hearty, and enthusiastic recommendation!
