Title: Lam Ching-ying’s The Phantom Tour Group (1992): A Darkly Comic Masterpiece of Hong Kong Supernatural Cinema
When discussing the golden age of Hong Kong horror-comedy, few films encapsulate the genre’s audacious spirit as vividly as Lam Ching-ying’s The Phantom Tour Group (猛鬼旅行团). Released in 1992 and directed by Lau Shui-Hung, this underappreciated gem blends slapstick humor, Taoist mysticism, and existential dread into a story that is equal parts absurd and profound. For Western audiences unfamiliar with Lam’s legacy—often hailed as the “Godfather of Zombie Cinema”—this film serves as a perfect introduction to his unique ability to balance horror with humanity, tradition with innovation.
- A Plot That Defies Convention: Ghosts, Bureaucracy, and Dark Comedy
The film opens with a premise ripe for chaos: a mainland Chinese tour group, led by the bumbling but well-meaning guide Li Ka-Ling (played by the irrepressible Sandra Ng), embarks on a trip to Hong Kong. After disrespecting a haunted burial ground, their bus crashes, killing everyone onboard—except Li, who survives only to realize her fellow travelers have become possessed by vengeful spirits. What follows is a surreal battle between the living and the dead, as Lam Ching-ying’s Taoist priest, Ma Gau-Ying, teams up with Li to exorcise the ghosts while navigating Hong Kong’s neon-lit chaos.
What sets The Phantom Tour Group apart is its subversive take on afterlife bureaucracy. The ghosts, unaware they’re dead, cling to their mundane desires: one spirit obsesses over robbing a bank, another flirts with unsuspecting locals, and the leader, a ruthless ghost king named Lee Bing (martial arts star Kiu Jan-Gwok), seeks to expand his underworld empire. This absurdist critique of systemic corruption—both earthly and supernatural—echoes Terry Gilliam’s Brazil but with a distinctly Cantonese flavor.
- Lam Ching-ying: The Taoist Priest as Reluctant Hero
Lam Ching-ying’s portrayal of Ma Gau-Ying is a masterclass in understated heroism. Unlike his iconic Mr. Vampire roles, where he exuded unshakable authority, here he plays a world-weary priest grappling with moral ambiguity. In one scene, he reluctantly negotiates with a ghostly bureaucrat demanding “paper money” bribes—a darkly comic nod to Hong Kong’s capitalist ethos.
Lam’s physicality remains unparalleled. His ritualistic gestures—tossing talismans, chanting incantations, and wielding a peach-wood sword—are performed with the precision of a seasoned Peking Opera actor. Yet, he injects vulnerability into the role. When confronted by the ghost king, Ma admits, “Even I fear what I cannot understand,” a line that humanizes the archetypal “expert hero” and deepens the film’s philosophical undertones.
- Sandra Ng’s Breakout Role: Comedy as Catharsis
Sandra Ng’s Li Ka-Ling steals every scene she inhabits. Her character, a government agent with telekinetic powers (a parody of mainland China’s obsession with “superhuman” propaganda), provides the film’s comedic backbone. Whether she’s accidentally yanking out a ghost’s intestines or using her “special skills” to roast a pigeon mid-air, Ng’s performance walks a tightrope between absurdity and pathos.
Her chemistry with Lam is electric. In a standout sequence, Li disguises herself as a ghost to infiltrate the phantom tour group, leading to a hilariously tense elevator scene where dozens of ghosts pile in without triggering the weight alarm—a visual gag that underscores the film’s playful irreverence.
- Taoist Lore Meets Practical Effects: A Visual Feast
Pre-dating CGI reliance, The Phantom Tour Group relies on prosthetics, puppetry, and smoke machines to create its eerie atmosphere. The ghosts’ makeup—pale, sunken faces with elongated limbs—evokes traditional Chinese ghost paintings, while the underworld’s green-tinted fog and paper lanterns pay homage to Hong Kong’s theatrical roots.
One unforgettable set piece involves a ghostly wedding procession: skeletal musicians play discordant tunes, a bride’s sedan sways through misty forests, and Lee Bing’s demonic transformation—complete with glowing eyes and levitating hair—showcases the ingenuity of 1990s Hong Kong effects teams.
- Cultural Crossroads: Why Western Audiences Should Care
For viewers raised on Hollywood horror-comedies like Ghostbusters or Beetlejuice, The Phantom Tour Group offers a fresh perspective. Its exploration of Taoist rituals—such as “paper offerings” to appease spirits or the use of chicken blood to break curses—provides a crash course in Chinese spiritual practices. Meanwhile, the film’s critique of authoritarianism (both ghostly and governmental) resonates universally.
Thematically, it also subverts Western horror tropes. Unlike The Exorcist, where evil is an abstract force, here ghosts are tragic figures trapped by their unresolved earthly desires. When Ma Gau-Ying finally confronts Lee Bing, their battle isn’t about annihilation but reconciliation—a poignant commentary on cycles of vengeance.
- Legacy and Rediscovery
Though overshadowed by Lam’s Mr. Vampire franchise, The Phantom Tour Group has gained cult status for its bold genre-blending. Its influence can be seen in modern films like Train to Busan (zombies on public transport) and Jiang Ziya (mythological bureaucracy). For Western filmmakers, the movie is a treasure trove of inspiration, proving that horror can be both socially relevant and riotously entertaining.
Conclusion: A Gateway to Hong Kong’s Cinematic Underworld
-The Phantom Tour Group* is more than a horror-comedy—it’s a love letter to Hong Kong’s chaotic identity in the 1990s, straddling tradition and modernity, fear and farce. Lam Ching-ying’s gravitas and Sandra Ng’s comedic genius make this a timeless entry in the canon of Asian supernatural cinema.
For foreign audiences, the film is a gateway to understanding why Lam remains a cultural icon: he didn’t just fight ghosts; he gave them humanity. As Ma Gau-Ying quips in the film’s climax, “Even the dead deserve a second chance.” In today’s world, where division reigns, that message feels more vital than ever.