After going through some reviews, I feel the need to differentiate Liao Zhai from Wuxia and (Western and Japanese)Fantasy. The awareness of Liao Zhai among audiences is far, far from enough, which partly explains why this film doesn't meet expectation from some people.
This film is loosely based on a short story from Liao Zhai, which is a collection of nearly 500 strange tales dated back to 17th century, serving to implicitly criticize human society. Unlike many ghost stories, Liao Zhai portrays most ghosts as likable and humane females, and has underdog scholars(author's class stand), ridiculous government officials as well as feudal principles as recurring themes.
Although the story line has been changed, this film hasn't depart from the core of Liao Zhai, mocking brain scattered officials, revealing heartless stall-keepers and crowds. Its attitude is fully exposed through lines of the Taoist:
"I hate dealing with people, so I hid in this temple."
"Ridiculous. I don't want to be a man, but Hsiao Tsing wants reincarnation. I don't understand all this nonsense!"
"In these times, an unlucky man may fare worse than a ghost. "
Those who thought it was Wuxia may find the supernatural elements corny; those who thought it was a fantasy may find it structurally and cinematically timid.
With all that said, Liao Zhai as a film genre might never become phenomenal, mostly due to its own limitation. In the nihilist moment of depression and quiet anger, scholars like the author of Liao Zhai had never detected the crux of the problems nor come up with effective solutions, just like the last feudalism of China itself.
Hopefully, a brief look into Liao Zhai betters your understanding!
This film is loosely based on a short story from Liao Zhai, which is a collection of nearly 500 strange tales dated back to 17th century, serving to implicitly criticize human society. Unlike many ghost stories, Liao Zhai portrays most ghosts as likable and humane females, and has underdog scholars(author's class stand), ridiculous government officials as well as feudal principles as recurring themes.
Although the story line has been changed, this film hasn't depart from the core of Liao Zhai, mocking brain scattered officials, revealing heartless stall-keepers and crowds. Its attitude is fully exposed through lines of the Taoist:
"I hate dealing with people, so I hid in this temple."
"Ridiculous. I don't want to be a man, but Hsiao Tsing wants reincarnation. I don't understand all this nonsense!"
"In these times, an unlucky man may fare worse than a ghost. "
Those who thought it was Wuxia may find the supernatural elements corny; those who thought it was a fantasy may find it structurally and cinematically timid.
With all that said, Liao Zhai as a film genre might never become phenomenal, mostly due to its own limitation. In the nihilist moment of depression and quiet anger, scholars like the author of Liao Zhai had never detected the crux of the problems nor come up with effective solutions, just like the last feudalism of China itself.
Hopefully, a brief look into Liao Zhai betters your understanding!