Title: Lam Ching-ying’s Crazy Safari (1991): A Cult Classic of Cross-Cultural Chaos and Zombie Comedy
When discussing Hong Kong’s golden age of supernatural cinema, Lam Ching-ying (林正英) remains an unparalleled icon. Best known for his stern Taoist priest roles in Mr. Vampire (1985) and The Chinese Ghost Story series, Lam’s filmography holds an unexpected gem that defies genre conventions: Crazy Safari (非洲和尚), a 1991 horror-comedy that merges Chinese zombie lore with African tribal culture, slapstick humor, and biting social satire. This film, often overlooked in Western discussions of Hong Kong cinema, is a wild, genre-blending ride that showcases Lam’s versatility and the creative audacity of 1990s filmmakers.
- A Plot as Unpredictable as the African Savannah
-Crazy Safari* follows a Chinese Taoist priest, Master Lam (Lam Ching-ying), hired by a British-Chinese businessman to transport his ancestor’s reanimated corpse back to China for burial. The journey takes a disastrous turn when their plane crashes in the African wilderness, separating the zombie from its handlers. The corpse, still clad in Qing Dynasty robes, stumbles into the territory of !Nqau (played by N!xau, the Namibian actor famous for The Gods Must Be Crazy), a curious Bushman who mistakes the hopping undead for a divine being. Meanwhile, Master Lam and the businessman face off against rhinoceroses, tribal rituals, and a greedy colonialist duo hunting for diamonds .
The film’s absurdity is its strength. By juxtaposing Chinese jiangshi (僵屍, “stiff corpse”) mythology with the untouched landscapes of Africa, Crazy Safari creates a collision of worlds that is both hilarious and thought-provoking. The zombie—rigid, talisman-controlled, and clad in imperial attire—becomes a fish-out-of-water figure in the savannah, worshipped by tribesmen and later weaponized against colonial exploiters. This narrative choice transforms the zombie from a horror trope into a symbol of cultural bridging .
- Lam Ching-ying’s Subversive Role: From Stoic Priest to Reluctant Adventurer
Lam Ching-ying’s portrayal here diverges from his usual roles. Instead of the infallible Taoist hero, Master Lam is a pragmatic, exasperated figure navigating absurdity. In one scene, he rides an ostrich to escape charging wildlife—a far cry from his dignified sword-wielding exorcisms. His deadpan reactions to African tribal customs (including a ritual where he’s nearly sacrificed) highlight the film’s comedic edge, while his eventual alliance with !Nqau underscores themes of mutual respect amid cultural clashes .
Lam’s chemistry with N!xau is unexpectedly heartfelt. Their communication, a mix of broken English and pantomime, evolves from mistrust to camaraderie. In a standout moment, Master Lam teaches !Nqau Taoist rituals, while the Bushman shares survival skills, creating a cross-cultural exchange that subtly critiques colonial arrogance .
- Satire and Social Commentary: Colonialism Under a Comic Lens
Beneath its slapstick surface, Crazy Safari delivers sharp critiques. The colonialist villains—a white mercenary and his accomplice—are portrayed as greedy buffoons, their diamond hunt a metaphor for European exploitation. The film mocks their incompetence: in one scene, they hire a local witch doctor to summon an “African zombie” (a towering, bone-clad warrior), only to be outwitted by Lam’s jiangshi, whose rigid hops somehow outmaneuver the hulking foe .
The movie also subverts the “white savior” trope. Instead, it’s the Chinese Taoist and African Bushman who collaborate to protect their communities, while the colonialists are humiliated. This narrative flips traditional power dynamics, celebrating indigenous and Eastern wisdom over Western greed .
- Technical Ingenuity: Practical Effects and Cross-Continental Humor
Hong Kong’s 1990s filmmakers excelled at low-budget creativity, and Crazy Safari is no exception. The zombie’s movements—a mix of hopping and mechanical jerks—are achieved through wirework and clever editing. Scenes of the jiangshi interacting with wildlife (including a hyena mistaking it for prey) rely on practical effects, giving the film a tactile charm absent in CGI-heavy modern horror .
The film’s humor transcends language barriers. Silent comedy reigns: !Nqau’s bewildered expressions as he tries to “tame” the zombie, or Master Lam’s futile attempts to explain Taoism to tribesmen. Notably, the Cantonese and Mandarin dubs feature voice cameos by Stephen Chow (周星驰) and Ng Man-tat (吴孟达), whose exaggerated narration adds another layer of meta-humor .
- Cultural Hybridity: Why This Film Resonates Today
-Crazy Safari* is a time capsule of Hong Kong’s cinematic fearlessness. At a time when the city faced political uncertainty, its filmmakers embraced absurdity as both escapism and social critique. The movie’s blending of Chinese folklore with African settings predates today’s globalized cinema trends, making it a precursor to works like Black Panther’s fusion of futurism and tribal culture .
For Western viewers, the film offers a gateway to jiangshi mythology while challenging stereotypes about “exotic” cultures. The zombie’s eventual heroism—helping tribesmen repel colonizers—reflects a universal message: even the grotesque can be heroic when aligned against oppression .
Conclusion: A Cult Classic Deserving Rediscovery
-Crazy Safari* is not just a comedy; it’s a celebration of cultural resilience and creative chaos. Lam Ching-ying’s willingness to lampoon his own iconography—Taoist rituals performed in lioncloth, solemn incantations interrupted by monkey thefts—reveals a playful side often absent in his filmography. Meanwhile, the film’s anti-colonial stance and emphasis on collaboration feel strikingly relevant in today’s global discourse.
For fans of Sam Raimi’s Evil Dead II or Taika Waititi’s Hunt for the Wilderpeople, Crazy Safari offers a similar blend of heart and hilarity. Its message is simple yet profound: in a world divided by greed and prejudice, laughter and solidarity are the true magic.
As Master Lam might say while fleeing a rhino: “Even the undead deserve a safari