Among all the esteemed classics that the Shaw Brothers produced, this one feels quite unlike most of its brethren. The contemporary setting is certainly a bit uncommon, and the choice to film exclusively in Malaysia, as are the more plainly dramatic airs with comparatively few genre elements. Even more noteworthy are the strong notes of ableism and misogyny that characterize the story, not to mention the sexual overtones that feel rather exploitative, especially in light of considerable nudity and sexual assault that require a subststantial content warning. And still even more distinct, and rather concerning, is how astoundingly direct and simplified the dialogue, scene writing, and overall narrative are, mostly quite blunt and brusque. That forthrightness extends to the majority of the acting and direction, meaning that in those moments when the titular figure isn't in action, the proceedings come off rather curiously as an overt and very heavy-handed melodrama. There actually is much to like here, and the story at large is fairly solid, yet 'Oily maniac' faces considerable problems for how very unsubtle, tactless, and gawky it is in its craft in many regards. Why, though it's not true across the board, there are moments when the tale feels altogether nihilist as there are few figures here that do not come off poorly at one time or another. There's so much going on here.
With all that said, if it's horror that you're looking for, you'll definitely find it. The very premise suggests a blending of modern regional folklore with classic comic book creations like Swamp Thing or Man-Thing, or other folk beliefs from various cultures about humans who take on properties of the natural world. I don't think the full potential of the scenario is borne out as protagonist shows himself to be easily manipulated to use his powers against anyone, yet the core is very sturdy as beleaguered Shen initially sets out to fight crime and corruption but quickly loses himself in the process. The violence and action sequences are duly striking, and if less than fully detailed, the costume of the "oily maniac" is more than suitable enough to fit the needs of the feature. Meanwhile this is admirably well made in most other ways, befitting the usual standards of the Shaw Brothers, including excellent production design and art direction, and great stunts and effects (if less finessed than in the kung fu flicks for which the studio is best known). The post-production special effects that are employed to visualize the monster's movements are glaringly obvious, though one can't fault this too much aspect too much since the title could only make use of what technology was available to it. While the acting and direction are broadly less than nuanced, both Ho Meng-Hua and his cast illustrate sufficient capability to bring the whole to fruition.
All things considered this doesn't count among the top premier movies that the Hong Kong legends have ever churned out. Even if we twist semantics to say that the readily discernible issues aren't abject flaws but just factors that may limit audience engagement, the fact remains that there's a lot about this 1976 flick that doesn't necessarily come off well; in the very least, it's not as refined and carefully made as some of the production company's other works. Be all that as it may, I still had a good time watching - I expected I'd enjoy 'Oily maniac,' and that I did, even as I recognize where it's less successful. Unless you're a diehard Shaw Brothers fan or a horror fanatic I don't think this anything one needs to go out of their way to see, but it's most very well done and entertaining, and when all is said and done it's a fine credit to those involved. It's no must-see, but bearing in mind some necessary content warnings, 'Oily maniac' is worth a look if you do have the chance to watch.
