(Liao Zhai Yan Tan Xu Ji Zhi Wu Tong Shen)
Director – Peter Ngor, Producers – Choi Lan Chan & Lee Ying. Production Company – Diagonal Pictures.
May Law (Fang Yu-yin), Anthony Wong (Wutung/Chiu-Sheng), Lui Siu Kip (Shan-ken), King-Man Chik (Chen)
The demon Wutung returns to Earth in a new body. He falls for the mortal Hsiao-yen who determines to redeem him with her love. However, Heaven deems their liaison forbidden and two fairies are dispatched down to Earth. They kill Hsiao-yen and reincarnate her soul in the body of the just born child Fang Yu-yin. Angered, Wutung, in conjunction with a female demon, unleashes his lusts and wreaks havoc everywhere. The village of Yeng Fueh strikes a bargain with Wutung, offering him a virgin each month to satiate his appetites. Some years later, the grown Yu-yin is chosen as one of the virgin brides. The mortal Shan-ken, who desires Yu-yin, rescues her back, but in doing so affects a mortal blow on Wutung. As Wutung recuperates, he sends his female partner into the village to abduct Yu-yin and bring her back to be his bride.
Erotic Ghost Story (1990) was an attempt to combine the two burgeoning genres of the Hong Kong fantasy film and the erotic film. It failed to work terribly satisfyingly but was nevertheless a huge hit. This was the first of two sequels and actually works a good deal better than the original. Although it should be noted that there is little connection between Erotic Ghost Story II and the original – gone entirely are the three fairy sisters and the only link is the principal nemesis of the demon Wutung, as well as actress Amy Yip who makes a return appearance of all of one scene as one of the fairies who kills Hsiao-yen.
Even stylistically, Erotic Ghost Story II is different. For one, it is determined to give much more full strength to the ‘ghost story’ aspect of the title. Erotic Ghost Story, as the title suggests, was an attempt to do A Chinese Ghost Story (1987) with erotic couplings. It never quite worked largely due to the fact that it was too vague about the fantasy element and because director Ngai Kai Lam directed the erotica with a clod-handedness. This, on the other hand, is much better budgeted and much more fantastically stylised.
There is often something wonderfully lyrical to the film – the erotica scenes come outlined against flowing silks, even blowing bubbles, and with Wu Xia images such as Shan-ken riding in to save the innocent May Law by swinging down on the end of a sapling to attack the demon with an axe, grabbing her and swinging back up again. The opening with lovers against silk flags, flames and swords sets up a magnificent image of the purity of the mortal realm being defended against a bestial carnal force.
The climactic scene involves the heroine rescuing the hero by using her naked body to melt the block of ice he is trapped in, another girl distracting the demon by having sex with him underwater, and a finale when the demon strikes the heroine with a sword, releasing the soul of his beloved in a flame, which then rises up to embrace and engulf him. As the reincarnated innocent, May Law provides a wonderful series of coy chaste expressions – she seems naiveté embodied.
It is also a film that has its fair share of totally demented moments. In one scene, Wutung captures a female innocent and starts ravishing her. She responds by fellating him, while his thick corrugated tail, which is hidden in a little white fluffy rabbit’s tail, starts twitching in arousal, ending in a three-way with the girl riding him and his female demonic compatriot riding the tail. In another scene, Wutung couples with a woman and becomes so carried away that he severs her at the waist and keeps on fucking her detached legs.
There is an hysterical erotic set-piece that starts out with two girls making out and being joined by a guy in a scene that becomes increasingly more over the top – with silks billowing, bubbles blowing past and then an hilarious series of couplings set around a hanging rope arrangement, a table and a rocking platform with the girls swinging from a vertical pole to land onto the guy’s dick, while all the while the soundtrack is scored with an overtly comic series of whistles, percussive effects, creaking ropes and glasses rattling.
This was followed by a further sequel Erotic Ghost Story III (1992). There was a fourth film Erotic Ghost Story – Perfect Match (1997), although this is an entry from another company posing as a sequel and is unrelated.