A Chinese Ghost Story I Ii Iii -1987-1990-1991-... 🎉

The 1987 original is the series’ artistic peak—romantic, haunting, and visually distinctive. Sequels II and III trade some of the first film’s melancholy and thematic depth for broader spectacle, comedy, and action; they remain entertaining and influential in Hong Kong genre cinema but feel less emotionally substantial. Together they form a valuable case study in how folklore, romance, and action fused in late-20th-century Hong Kong filmmaking.

If you’d like, I can produce a scene-by-scene breakdown of any single film, a deeper analysis of its mythological references, or a viewing order and scene-timestamps guide. Which would you prefer?

The first film is, without a doubt, a masterpiece. It introduces us to Ning Tsai-shen (Leslie Cheung), a bumbling but kind-hearted debt collector who takes shelter in a haunted temple. There, he falls in love with Lit Siu-sin (Joey Wong), a beautiful ghost enslaved to a Tree Demon. A chinese ghost story I II III -1987-1990-1991-...

What makes the original so enduring is its atmosphere. It is gothic yet vibrant, terrifying yet tender. Leslie Cheung embodies the archetypal "nice guy" scholar with a clumsy charm, while Joey Wong creates the definitive image of the "fox spirit"—ethereal, innocent, and tragic. The chemistry between them makes the impossible romance feel grounded.

Visually, the film is a triumph of pre-digital effects. The Tree Demon is a terrifying puppeteered nightmare, and the action sequences—choreographed with flowing fabrics and gravity-defying wires—set the standard for wuxia cinema for decades. The ending theme, performed by Cheung, remains one of the most iconic songs in Chinese cinema history. The 1987 original is the series’ artistic peak—romantic,

Following the smash success of the first film, a sequel was inevitable. However, the tragic ending of Part I left little room for a direct sequel. Instead, A Chinese Ghost Story II goes full Tsui Hark: louder, faster, more politically chaotic, and significantly more confusing.

The Plot: Ling Choi-san is mistaken for a fugitive rebel and thrown into prison. The world has changed; evil ministers and demons (led by a centipede spirit) control the land. He meets a doppelgänger of the deceased Hsiao-ching (Joey Wong again, playing a human revolutionary named Ching). Alongside a new female sword-fighter (Michelle Reis) and the returning Yin Chek-ha, Ling must defeat a massive, transforming demon. Unlike the first film, Part III gives us

Tonal Shift: Part II abandons the quiet, Gothic horror of the temple for political satire and monster brawls. The Tree Devil is gone. In its place is a giant, glowing centipede that sheds human skin. The romance is secondary to the acrobatics.

What works: Michelle Reis as the cold, practical monk-fighter "Moon" is a highlight. The final battle, featuring a giant hollow demon head and massive explosions, is pure Hong Kong insanity. What fails: The magic is diluted. Replacing the unique chemistry of "ghost and scholar" with a "look-alike human" feels like cheating. Leslie Cheung’s Ling is now a screaming coward for 90% of the runtime, which gets exhausting.

The Verdict: An entertaining, over-stuffed blockbuster. It lacks the soul of the original but is a crucial bridge to the madness of Part III.

Unlike the first film, Part III gives us a genuine happy ending. Fong and Xiaoqian, through a clever loophole (her ashes are freed, and she is given a chance to be reborn as a human with her memories intact), walk off into the sunrise together. It is warm, forgiving, and satisfying—a gift to fans who wept at the 1987 finale.