Film Name: 僵尸大时代 / The Era of Vampire / Tsui Hark’s Vampire Hunters / 殭屍大時代
Unlike zombie films with comedic elements like “Mr. Vampire,” this movie is a very serious zombie flick and a genuine horror film. It contains no slapstick humor or romantic tales of human-ghost love. A chilling and eerie atmosphere permeates the film from start to finish. The battle between the Taoist priest and the zombie king is a heart-pounding struggle between life and death. Even the phenomenon of corpse transformation is given a very “scientific” explanation. With many scenes unfolding at night, the entire film carries a pervasive sense of gloom. The story is primarily set in the Jiang family mansion, a place where wax-preserved corpses (similar to wax figures, but with dead bodies sealed inside) are bought and sold. The empty mansion, the terrifying wax corpses, and the bride in her red robe within the eerie house all add significantly to the film’s horror atmosphere. Moreover, the narrative itself is compelling. Within an hour and a half, a diverse cast emerges: the Four Disciples of Mount Mao, bandits, a ruthless escort master, his pitiful younger sister, and the selfish, heartless Master Jiang. The film masterfully conveys the sentiment that “human hearts are more terrifying than zombies.”
Produced in 2002 under Tsui Hark’s supervision, this film boasts top-tier production values and special effects. Aiming for the international market, it unfortunately arrived when Hong Kong zombie films had lost their former glory. Cultural differences further diminished its impact, leading to limited attention at the time. Neglecting the mainland Chinese market contributed to its gradual obscurity—even the Mandarin-dubbed version is now hard to find. Nevertheless, the cast remains formidable: Lam Suet, Aaron Kwok, Zhou Wenjian, and Zhang Zhiyao. Ji Chunhua, typically cast as villains, portrays the virtuous Master of Maoshan, while Yu Rongguang plays the martial arts-proficient yet narrow-minded Master Jiang. Reflecting on this film after watching “Vampire Cleanup Department” recently, it’s clear Hong Kong filmmakers continue striving to restore the glory of Hong Kong cinema. Yet the harsh realities of the industry make this path to revival increasingly narrow.
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