Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB.[5] The producer turned it down, feeling it would not be suitable for television.[5] A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio.[6] Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation.[7] On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him.[7] Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II.[8] Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story.[7] Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film.[7] While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements.[7] Rumours persist around the production suggesting that Tsui Hark effectively directed the film.[8] British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark"[8] Joey Wong was a professional basketball player and model before starting her film career.[9] Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year.[9] She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.[9]
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From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises."[25] Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s".[3] The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional."[26] The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."[26]
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