With it being October and all, I was in the mood for a decent horror video game that fulfills my basic requirements for a game — that it be old enough so everyone else has lost interest in it, thus driving the price down to an affordable ten bucks or so. Of the many recommendations I got, I decided to go with F.E.A.R.: First Encounter Assault Recon, because I thought the blend of supernatural horror with a SWAT type first person shooter would be interesting. Plus, I’d been told the game was genuinely scary in many places. Seemed like the perfect late-night indulgence. And for portions of the game, it was. It’s a fast paced shooter that does indeed boast some incredibly effective spooky material. But it’s also too repetitive, and the horror often gets forgotten in favor of room after room of shooting it out with basically identical opponents gussied up in the same sort of assault team gear your own character is wearing.
There was nothing about the old VHS box for Shaolin Invincibles that made us think we were renting anything other than a standard “kungfu orphans get revenge on villains who murdered their parents” story. We plucked it from the shelves because, well, why not? We were up for renting anything that wasn’t Unique Lama. By the time Ocean Shores video splashed that bright red “The End” graphic onto the television screen, we’d seen tongue-waggling ghosts, bug-eyed zombies, and that most treasured of kungfu film appearances — the kungfu gorilla. I won’t say that the impact of Shaolin Invincibles on our mental faculties was as pronounced as it was after watching Young Taoism Fighter for the first time, but that’s a pretty high bar to set.
It’s not that Event Horizon isn’t the kind of movie I would write about. Haunted spaceships and Sam Neill ripping out his own eyeballs is right up my alley. No, the reason isn’t the content, but rather, that fact that this is one of those movies that already has a lot of words spent on it from a variety of sources both in the mainstream and in the realm of cult film fandom. Under such circumstances, it’s hard to imagine what i might have to add that is new. In some cases, I can come up with something — some tiny, meaningless tidbit that is a throwaway line in a movie that then allows me to write endlessly on some idiotic and obscure point. But upon watching Event Horizon, I was left with a distinct lack of ideas when it came to thinking about how I might approach writing about this film with some degree of originality. And now that I’ve finished the first paragraph, I still have no idea, so with any luck, something will pop up as I stumble along.
I once read a review on some site that contained the statement “Slaughtered Vomit Dolls is not for everyone”, which is my favorite line ever from an online review of a cult movie. Not only is it admirable for being refreshingly direct, but also for how it so clearly provides the guidance that we depend on from such reviews. It makes you truly grateful that the internet exists, especially if you’re one of those people who might otherwise have considered purchasing Slaughtered Vomit Dolls as a Mothers Day gift.
Among the many things that puzzle me in life is the question of why there aren’t more horror films set amidst military conflicts and wars. Not that aren’t any, but there aren’t nearly as many as one might think, giving how easily wartime settings should lend themselves as backdrops to horror films, to say nothing of the fact that it was the landscape of World War I that informed the art and set design on many of the old Universal and German horror classics. That conflict in particular, with one foot in the horror of modern warfare and the other in…well, the horror of 19th century warfare, seems particularly well suited for horror films. The strange combination of Industrial Revolution weapons and vehicles with ornate imperial uniforms, peasants, kingdoms, horse-drawn artillery, and of course, No Man’s Land, trench warfare, bombed out old European buildings and castles — horror films set amongst this carnage seem to practically write themselves, and yet wartime horror films are all but non-existent.
Certainly, some exist, and perhaps I’m the only one who look sat the battlefields of past wars and sees potential for horror-themed entertainment. Chalk it up to my childhood obsession with Weird War Tales comic books, those oft-mentioned on this website stories about skeletal Nazis drifting across war-ravaged, mist-enshrouded landscapes while a terrified GI crouches in a trench. Or my personal favorite, the one with a cover where a centaur is attacking a Panzer. What the hell was going on with that one? I guess if I had my millions, I’d blow a lot of it on the usual stuff people blow easy millions — top hats, monocles, stuff like that — and the rest I’d devote to remastering and releasing on DVD obscure Eurospy films mostly for myself, and to producing a long series of horror films set during the two World Wars and featuring green fog and skeletal specters clad in tattered military uniforms. Heck, it’s better than losing it all to some shyster investment banker.
Anyway, like I said, there aren’t many horror films set amidst wars. There was one about two guys stuck in a trench in WWI, I think. And I’m not sure I count Manticore, even though I seem to have watched that movie like a dozen times. There are thousands of films in my “to watch” pile, including many incredible classics, and I never get around to viewing them. How is it, I ask myself, I continue to fail to watch these films but have seen Manticore and Zoolander like ten thousand times? But other than a precious few, and discounting movies that feature soldiers but are not set in actual wars, this weird little subgenre with which I’m obsessed remains curiously unpopulated. Maybe it’s because most horror films are incredibly low budget affairs, and they simply can’t afford the costuming, props, locations, and scenes of battle that would be required to properly set the stage. Maybe horror film screenwriters are just young, and they don’t know enough about such conflicts to use them as a backdrop for a film — not that not knowing much has ever stopped a screenwriter, especially a horror film screenwriter. Their offenses against even the most basic of police procedures are long-running and often astounding.
Perhaps war is simply a horrible subject in itself, and lending a supernatural air to it is seen as tasteless. Ha ha ha! Yeah, I know. The genre that gave us sub-genres like torture porn, slashers, and Rob Zombie is worried about offending the sensibilities of the world’s remaining Great War veterans. Perhaps, then the problem is that the people who have ideas for World War horror films (One or Two, either would be effective), like me, are lazy, like me, and the scripts remain as little more than half-finished ideas inside their heads. I also tend to wonder why there are so few movies about the American Revolution, what with it being kind of a big deal not just in American history, but in shaping the course of the world as a whole. I suppose the rest of the world isn’t as excited about watching a cast of thousands in powdered wigs run at each other with matchlock rifles and bayonets. Maybe I’ll do an American Revolution horror film.
Among the few battlefield horror films we find the Korean production R-Point, set during the Vietnam War and involving, among other things, spooky ghosts, cemeteries, swamps full of corpses, and a spooky old French Plantation mansion. Unknown to many of my generation and later — and probably earlier than that — South Korea had the second largest contingent of non-Vietnamese troops in the conflict, after the United States. For them, the conflict in Vietnam played out much like an extension of the Korean War, with the North Koreans playing a role on the side of the North Vietnamese. Over the course of the war, and starting in 1964, South Korea sent over 300,000 troops into Vietnam, where they developed a reputation for being highly skilled and effective combatants — so much so that the Americans looked to Korean theaters for guaranteed safety while the North Vietnamese warned their troops to avoid engaging Korean battalions if at all possible.
Sadly, very little of that effectiveness seems to be on display in the troops that make up the special squadron of this film, unless we are measuring their effectiveness at screaming, flailing, falling down, and blubbering like little babies at even the slightest of inconveniences. R-Point centers around a group of soldiers who are assigned the task of traveling to a remote station — Romeo Point — to investigate the disappearance of a previous platoon of Korean soldiers. The previous group was presumed dead as a result of some sort of guerrilla attack until a distorted, bizarre distress message was radioed in by an unidentified member of the platoon.
The assembled task force includes pretty much all the war movie stereotypes: the stoic CO, the world weary veteran, the nerdy radio operator, the blowhard, so on and so forth. I don’t know the Korean equivalent of a guy from Brooklyn who wears a New York Yankees baseball cap and is probably nicknamed Brooklyn, but I’m sure whatever it is, this movie had one. Stoic Lieutenant Choi (Kam Woo Sung) leads the bunch and is one of the only guys with any sort of stand-out personality — that personality being “stoic guy.” Things start of predictably enough, with the task force traveling up river to R-Point, only to be ambushed by a Vietcong commando. After an intense firefight, they discover the commando is a woman. Badly wounded, Choi orders her shot to finish the job, but no one can bring themselves to do it, instead leaving her to die a slow death — which seems considerably worse, if you ask me.
Upon arrival at R-Point, they discover it to be a vast lakebed, now largely drained and overgrown, not to mention prone to severe bouts of ominous fog. After holing up in a decaying French mansion, they set about searching for some trace of their comrades. It isn’t long, however, before things start to get really weird. Soldiers start catching glimpses of other people disappearing into the shadows or running through the treeline. A group of Americans chopper in one night and deliver further ominous warnings about R-Point, detailing the location’s long history of slaughter and mass graves. And then one by one, members of Choi’s detachment start vanishing, turning up dead, or going insane.
There is much that R-Point does incredibly well, and several things it does poorly. So as to end on a high note — because I really did like this movie — we’ll tackle the negative first. And nothing stands out as a bigger negative than the behavior of the soldiers. They quickly degenerate into a state of shrieking and crying and falling over, becoming largely indistinguishable from one another, as well as becoming keenly irritating. I don’t expect people not to be scared when they are being hunted by ghosts and staying in a creepy old bombed out mansion, but one expects at least some degree of discipline and training to be on display at some point. But almost from the very beginning, with the exception of Choi and grizzled vet, Sergeant Jin (Byung-ho Son), the entire group is crying, cowardly, and incompetent. A better balance between soldiers trying to get their heads around their increasingly macabre circumstances and soldiers who are overwhelmed by it would have made for a much better movie, and one that deals with the complexity of entering a warzone and coming face to face with literal ghosts in a much more intelligent fashion. Instead, the movie becomes a long succession of crying, scares staged around dudes squatting over the latrine, and guys going, “Wait! Where did Corporeal So-And-So go???”
The film also falls back on the now-tired old Asian horror film chestnut of a spooky girl with long hair, which is a shame after the film goes through so much trouble to set itself up as something wholly different from the usual piles of Ring-inspired spooky girl horror films from Japan and Korea (among others). What really makes this a crime is that she is so blatant and obvious a presence in a film that otherwise relies very heavily on the effective exploitation of half-seen shapes in the shadows and momentary glances of something that was maybe there, maybe not. Shoehorning the female ghost into things not only undercuts the basic mystery, but seems wildly out of place, as if a producer somewhere along the way panicked and insisted that they put a female ghost with long hair into the film at some point. Her scenes are weak not just because she is photographed with such solidity, but also because the film doesn’t seem that committed to her presence, as if it is shrugging and saying to us, “Look, I didn’t want her in, either, but that producer insisted. Stick with me, and we’ll get to more scenes of creepy caves and ghostly soldiers pretty soon.”
So those are the negatives — provided one takes the appearance early in the film of an anachronistic DHL deliveryman in modern, bright yellow uniform to be amusing but ultimately harmless — and each negative is acutely noticeable and undermines the film in a way that can’t really be ignored. Because of these, I can understand people dismissing this film as an interesting failure. But it can be made up for if the movie exhibits strengths in other categories, and in that regard, R-Point succeeds admirably. First and foremost, this movie is creepy. Really creepy. The initial reveal of the French mansion that will become Choi’s base of operations is incredibly effective, fading into view as the sun rises on a gray and foggy day, and looming over the soldiers like the embodiment of all the death and decay perpetrated by the war. As far as the “old dark house” trope of ghost films go, this place is one of the best.
But it’s not left up to the mansion to shoulder all the creep factor. Drawing perhaps on the influence of Apocalypse Now in making the jungle seem surreal and eerie, R-Point works wonders with its surroundings, bringing out not just the fear of wartime attack in the jungle, but a very palpable sense of supernatural dread lurking behind every banana leaf and twisted root. The endless swaying fields and swamps of R-Point itself are equally as spooky, allowing any number of half-seen bugaboos to come and go in the corner of your eye. Among the most effective of these is a scene in which one of Choi’s men becomes separated from his search team, only to catch up with what he thinks is them, silently moving forward through the weeds and ignoring his attempts to catch their attention. Slowly, each soldier crouches down to take cover, fading into the brush around them and disappearing. It’s a damn good scene and really plays to this film’s strengths far more than the gratuitous female ghost nonsense.
Other effective scenes include the discovery of a downed helicopter, a swamp full of decaying bodies, and Jin’s exploration of a cave. In each of these scenes, as with the one above, the film draws its strength from the feeling that something might be there. The juxtaposing of very familiar wartime iconography — the HUEY helicopter, the fact that the soldiers moving through the weeds look almost exactly like the statues in Washington DC’s Korean War Memorial — with things that are otherworldly and not quite right. It infuses the entire film with a sense of creeping unease, that odd feeling one gets when one realizes that something they thought was familiar has been transformed into something recognizable buy also wholly alien in nature. Had R-Point stuck to that, instead of falling back onto the now unwelcome female ghost cliche, it would have been a great movie. Even with these missteps, though, it manages to be a good movie, if somewhat disappointing because it’s obvious how much better it almost was. If nothing else, it proves that the combination of war with supernatural horror makes for some striking, effective imagery.
Director-screenwriter Su-Chang Kong, who also wrote the thriller Tell Me Something, wasn’t terribly experienced when he penned this script, and that perhaps goes a long way to explain the failure of the film to avoid the ghostly girl cliche and do something more with the soldiers than make them cry and complain and whine about going home because they are scared. Man, the more I think about that, the more it irks me. Still, when his script is strong, it’s really strong, and for the most part, he keeps the horror oblique and never fully explained. At times, it seems like Choi, and then Jin, might know more than they are letting on. At no time is the exact nature of what is haunting, possessing, and killing them fully explained. This makes the horror much scarier. Attempts to lend some explanation through the appearance of the female ghost collapse, and R-Point would have been better off never offering any clear explanation at all.
As a director, Kong fares much better, even though this was his first film. Working with cinematographer Hyeong-jing Seok (Kilimanjaro), Kong creates a thoroughly eerie atmosphere without resorting to lots of CGI. He allows the camera to linger just as often as he employs fast editing to imply ghostly appearances. Kong is also successful at turning everything into something spooky looking, including the jungle, the decrepit mansion, an old cobweb-covered radio unit, and a crumbling temple choked by vines. He also keeps the film well-paced for the most part — though even solid direction and art design has a hard time interesting me in yet another scene of two guys getting scared while squatting over the latrine. For the most part, though, R-Point moves at a slow pace punctuated by moments of surprising wartime violence or chilling horror film imagery. It’s too bad that Kong the screenwriter lets down Kong the director from time to time.
There’s little point in analyzing the acting, as most of it is comprised of guys crying, falling down, and begging to go home. I mean, you certainly believe these guys are scared, but it gets annoying. It also makes it hard to tell who is who — which actually works to the film’s advantage when the soldiers have their revelation about the first soldier to die. The non-blubbering, non-hysterical acting is largely left up to Woo-seong Kam as Choi and Byung-ho Son as Jin. I’d never seen Kam in anything before, or since for that matter, and he has few films to his credit despite being quite good in his role here as a man attempting to hold onto his sanity and decipher the weirdness occurring around him. Byung-ho Son I’d seen once before, in 1999’s Yuryeong (aka Phantom Submarine). He’s also quite good here as the older, more experienced soldier trying to hold the force together while they all go to pieces and Choi becomes obsessed with figuring out what the hell is going on.
R-Point is a decent entry in the war-horror film, creating many incredibly effective scenes but ultimately proving to be a bit of a disappointment because it’s almost a great film, which is often worse than just being a bad film. This is one of those movies that just needed one more revision of the script to really make it something special. Still, if you can get over how great the film could have been, you can still enjoy how good it is. Not without noticeably flaws, many of which are large enough to make not liking the film perfectly understandable, R-Point still manages to be creepy as hell in many places and an interesting film to think about. It also seems to know when it’s doing something right, and when it’s doing something wrong. Less female ghost with long hair, more war-horror would have been a vast improvement. R-Point still succeeds at being scary, and at having a little more going on upstairs than the usual horror film — especially when it comes to transposing supernatural horror on top of real world war horror, and letting the decay and spookiness of one frequently stand in for the other. It’s just too bad that, like the soldiers in the film, it couldn’t prevent itself from taking those missteps it so obviously recognizes as such.
Anyone claiming that Spirits of the Dead isn’t a good movie is probably only just saying that because Vadim’s contribution to this anthology of Edgar Allen Poe adaptations as conceived by three of Europe’s maverick directors is so sloppy and unengaging. Vadim’s contribution, “Metzengerstein,” is certainly not the way you’d want to start a film. As was par for the man, Vadim casts his current sexy main squeeze in the lead, which just happened at the time to be Jane Fonda. The duo were fresh off Barbarella, and this story was originally envisioned as a feature film follow-up to that piece of sci-fi pop art. How they could have every stretched this thing out to a full running time is beyond me, though it’s not as if Vadim wasn’t a pro at stretching out thin-to-nonexistent plots and pasting them together with eye-popping, mind blowing costume and set design. Fonda plays the Countess Metzengerstein, heir to a vast fortune she squanders by throwing lavish orgies and torturing the underlings. Actually, they’re rather dull and lifeless orgies. You know, orgies always seem like a good idea until you try and hammer out the logistics of the whole thing. As for me, I’d be too worried about people knocking stuff over. Anyway, she delights in hurling barbs over the fence at her more modest cousin, played by none other than Jane’s brother, Peter. Eventually, she becomes sexually obsessed with him — kind of, well, you know, but then this is Roger Vadim we’re talking about, and it was the sixties — until he rebuffs her advances. I mean, heck, Henry was probably already pretty steamed at the both of them for being a coupla hippies. Incest would have really set him off.
As revenge, the mad Ms. Metzengerstein burns down his stables, and he in turn dies in the fire trying to save his horses. Or so it would seem. A big black stallion bursts through the flames and gallops to safety, but there is no record of such a horse in the stable. Metzengerstein becomes convinced that the horse is the reincarnation of her beloved cousin, and her obsession with the horse crosses into madness and, frankly, borders on bestiality. Despite all the weird stuff thrown into the mix, this is a decidedly dull and uninspired way to kick off the film. The costuming, usually one of Vadim’s only strong points, is relatively without shock or beauty. Jane dons some navel-exposing Little Lord Fauntleroy type outfits, but everything else looks like it’s on loan from the local community theater. The cinematography is listless, and Vadim’s usually striking composition of scenes is non-existent. In addition, everything is shot in soft-focus “Playboy-o-vision.” The English speaking actors are dubbed into French in the currently available version, which means the only way we can judge their performances is through body language, most of which consists of them staring half-stoned at the camera.
The tone of the film is all wrong too, at least in my opinion. A tale of mystery and the bizarre, as this is meant to be, should have some sense of menace and the macabre, some sort of tension. There is none of that here, and the film instead unfolds like a languid, ethereal, and intensely boring dream. Fairy tales and Cocteau Twins songs conjure up more darkness and dread than this supposed Edgar Allen Poe tale. There are some nice crumbling castles and decaying seaside scenery, but Vadim doesn’t seem to understand how to take thematic advantage of it or relate it to the decaying morality and mental state of his central Nero/Caligula-like figure (though I must say I bet Jane Fonda’s figure is better than Nero or Caligula’s). When you fail to match even someone as hit-or-miss with similar atmosphere as, say, France’s Jean Rollin, you know you’re way off the mark. It’s like Vadim wasn’t even trying here. The hilariously silly ending was repeated in Vadim’s 1973 film Don Juan (Or if Don Juan Were a Woman), which we covered right up there at the very beginning of this journal.
Things pick up, but only just, for the second story in the trilogy. Luis Malle directs “William Wilson.” Malle is probably most infamous for flirting with child pornography when he introduced the world to Brooke Shields in his 1978 film Pretty Baby. Before that, he was a member of the French New Wave, which helped get him this gig. He’s pretty far off his game for this outing, though, turning in an entry that manages to be less ponderous and a little more tense and eerie than Vadim’s meandering hunk of nonsense, but it still just doesn’t play out the way it should, perhaps because the story itself has been done so many times and this one offers nothing new. French heartthrob Alain Delon stars as the titular Wilson, whom we meet as he stumbles into a confessional and claims to have killed a man. Through a series of flashbacks, we learn the history of Wilson, who in every regard is a grade-a prick. As a young boy attending a military school where his classmate was no doubt Damien from The Omen II, he encounters a boy with the same name as he who seems dedicated to countering everything he does. He encounters this double, who even grows to look exactly like him, throughout various points in his life until, ultimately, they face one another in a fencing duel.
There’s very little to surprise here. The man fighting his doppleganger, and by killing it killing himself, is nothing new, and Malle’s approach is so straight-forward and by the books that the story, while decent for a single viewing, has nothing more to offer. Like Vadim, Malle seems to almost be phoning it in just to collect his paycheck. The primary difference is that the performers, native French speakers, are better and the story is, as I said, OK at least for the first go-round. Brigitte Bardot shows up briefly in a gambling scene. All in all, the segment isn’t bad. Direction is nice, acting is good, and it moves at a fair clip. There are also a few effective moments, chiefly the scene of a young Wilson lowering a new student into a barrel full of rats and a later scene in which Wilson, now a medical student, seeks to practice his dissection technique on a living subject. So OK, it’s not bad. It’s just not that interesting.
If you make it through the awful first story and middling second, they pay-off is Federico Fellini’s entry, the final piece in the trilogy and easily one of the most delirious, grotesque, and utterly insane forty minutes of film you’ll ever come across. Fellini was known for a lot of things, not the least of which was his fondness for the absurd. If you’re familiar with the director, and you should at least try to be, then try to imagine everything about him and his style distilled down and concentrated in one forty-minute sequence. Quite frankly, it’s almost too much, and that’s simply divine.
His story is “Toby Dammit,” based loosely on Poe’s “Never Bet the Devil Your Head.” A wild-eyed, completely mad looking Terence Stamp stars as Dammit, a drunken, wild British film actor who seems to be hovering on the brink of a career collapse. He travels to Italy to star in a film in which Jesus is reincarnated as a pioneer in the American West, but nothing about his trip to Rome is the least bit ordinary. Fellini saturates his film in colors, and they’re all the wrong ones for what should be going on. Think of film that has been cross-processed. The world of Toby Dammit is awash in red and yellow, billowing orange clouds and dust, like driving through someone’s hallucination of the end of the world. Given the Biblical nature of the film Dammit is to be starring in, it wouldn’t surprise me if Fellini’s own inspiration for the look of the film came straight from the Book of Revelations.
Dammit’s biggest problem, besides his addiction to and disdain for fame, is that he is haunted by visions of a smiling young blonde girl (shades of Mario Bava’s Kill, Baby, Kill) who he believes to be The Devil himself. We follow Dammit onto a bizarre talk show, an even more bizarre awards show, and finally a manic, out of control car ride as he attempts to escape the increasingly bizarre and artificial landscape around him (people on the street are frozen in mid-motion, and eventually become mannequins).
The difference between the two French directors and the Italian Fellini couldn’t be more obvious. He seizes his story with gusto, indulging every bizarre notion that crosses his mind and throwing it all onto the screen with a madcap zeal totally lacking in Vadim’s entry and an absolute lack of predictability as seen in Malle’s. Nothing is the slightest bit real. It’s all highly stylized and has its grotesque alien factor cranked to the very top. Everyone is grossly overdone. Their make-up is outrageous; their movements are more the movements of stage props and puppets. Lights flash and glitter from every angle, and a non-stop of psychedelic detail and sheer lunacy require that you watch the segment several times just to catch everything that goes on in each scene.
And standing above this gaudy, gorgeous horror show, this gleeful dissection of fame and the film industry (or rather, the industries that affix themselves to the film industry) is Terence Stamp, white-faced and genuinely looking like he’s just come of a weeklong binge. He’s haggard and sweaty and pasty and looks utterly spent, while at the same time seeming completely and utterly hysterical. Although in the currently available version all his dialog has been dubbed into French, unlike the Fondas in the first segment, he gives you plenty more by which to judge his frenzied performance. He’s a whirlwind of agitated energy, and it’s one of the best performances in the career of one of England’s best actors. It’s impossible not to compare him here to Malcolm McDowell’s equally cracked performance in 1971’s A Clockwork Orange. I’m no expert on the film, but I’m willing to bet Stamp’s turn as Dammit (right down to the wild driving scene) was a major influence on both Kubrick as director and McDowell as actor. Spirits of the Dead is owned by Fellini’s segment, and Stamp owns that segment. It is sublime, and a must-see.
Where Vadim and Malle try, or we assume they try, to invoke dreamlike and Gothic horror atmospheres respectively, grounding themselves in historical settings and costumes, Fellini sets his film in a warped and twisted version of the present, a fever dream where the mood he goes for is more one of psychosis and hysteria than creeping dread (or oozing boredom, in Vadim’s case). “Toby Dammit” is as funny as it is warped. It is a celebration, in it’s own way, and by dispensing entirely with the “typical” Poe setting, Fellini seems to have achieved the only truly eerie Poe feeling in the entire anthology, though it might be Poe on one of his famous drug binges. Every scene drips with the promise of menace, albeit a completely absurd one, and his ending is as comical as it is spooky. And those images of the maniacally grinning little girl/Satan? Positively brilliant. The whole thing is an orgy of a psychotic, surreal Hell on Earth populated by annoying comedians and glittering women in gigantic false eyelashes.
So skip the first segment. Sit through Malle’s middle segment, but for the devil’s ball-bouncing sake, don’t miss Fellini’s finale. It’s the sort of lunatic filmmaking that makes you happy to be watching a movie. It’s a five-star segment trapped in an otherwise two-star film, but more than justifies the effort of getting through the film.
The horror boom in Japan didn’t have any one cause, but it did have one big ingredient that made it a success: young girls. Under normal circumstances, saying that young girls were a key to the success of anything horror related would mean that young girls, possibly in wet white shirts, were prominently featured in the film and probably died gruesome deaths. In this case, however, the young girls weren’t the ones doing the dying; they were the ones doing the buying. Someone somewhere had the bright idea to start running horror comics as a regular part of some very popular manga magazines (big, thick comic books the size of telephone books) aimed at teenage girls. What they found was that teenage girls love horror stories. It goes against conventional wisdom. In the West, horror has always been marketed to males roughly between the ages of thirteen and thirty. It was never seen as a genre for girls, most likely because the woman-hating misanthropes behind the films delighted in tormenting and degrading women every chance they got as a way of getting some weird little sort of revenge for having been snubbed at some point in their lives. Even when women were featured prominently as a story’s protagonist (as was often the case), most films were peppered with plenty of other female characters to shoulder the brunt of the film’s viciousness.
Horror in Japan was really no different, unless you see something positive in teenage girls getting raped by demons with forty-foot long multi-headed penises. It wasn’t exactly the kind of stuff that had young girls flocking to the theaters going, “Yeah, this really inspires me.” But where as the West continued to rake the ladies over the coals in horror, writers in Japan started trying something a little different. Chief among them was Junji Ito, who wrote horror comics in which teenage girls were the central characters but were not treated like or written as idiots and victims. Nor were they unbelievable super-women. They were regular girls, a bit on the smart side, and very believable. He placed these characters in the middle of wonderfully conceived and plotted tales inspired by the likes of HP Lovecraft and Edgar Allen Poe rather than the RL Stine tripe Americans were getting. In short, he target audience and his main characters were girls, and he didn’t treat either one like they were simpletons.
Added to the rise in horror manga popularity was the popularity of X-Files, which at its peak at least attempted to be smart and well-written. It inspired a legion of imitation shows in Japan, and all these ingredients combined in 1999 to form the horror classic Ring. It was a smash hit, and a new Golden Age of horror was born in Japan. Many of the films took their cue from Ito’s work (and many were in fact adaptations of his stories), featuring strong and believable female leads that would give girls in the audience someone for whom to root. Titanic proved that young girls are starved for movies that cater to them without belittling them, but that was a lesson completely lost on American movie makers, who went right on ahead making movies as if young, intelligent girls did not exist, or at least did not buy tickets to movies. Well, someone made Titanic one of the most successful films of all time, and it sure wasn’t me.
What really sets these Japanese horror films apart from the pack is that, while many are aimed at teenage girls, very few of them suffer as a result. A girl can watch Uzumaki and appreciate the young heroine, but it’s just as easy for a guy and for hardened horror veterans to appreciate the movie as well. Why? Because it’s simply a good movie, as are many of the films that came out in Ring’s wake. Although targeted at girls, that’s not their exclusive audience, and there’s nothing girlie about the movies. All they did in Japan is learn that if you make a good horror film that doesn’t degrade women, then girls will be interested in it, and girls have a lot of money to spend. It’s not so difficult a concept to grasp. Boy and girl slumber parties are exactly alike in that they always boil down to two things: talking about which member of the opposite sex you like, and swapping ghost stories or doing those “Bloody Mary” type party games. Boys have had their horrorlust indulged for decades. Now, at least in Japan, girls are finally getting the same chance.
Since Ring really started the boom, it was a given that there would be a sequel, not to mention plenty of rip-offs. Hot on the heels of the original’s stellar success, production began on a sequel called Rasen, aka The Spiral (not to be confused with Uzumaki, which is often given the English title Spiral). The film continues the ghost Sadako’s story as a friend of Ryuji’s (again played by Hiroyuki Sanada. Miki Nakatani reprises her role as his assistant from the first film as well) discovers her attempts to be reborn into the human world. Hideo Nakata, director of the first Ring movie, didn’t care for the development of the story in this direction. As a way of protesting this offshoot film, he set about making his own official sequel. Not too long after that, Ring 2 was born and Rasen lapsed into relative obscurity, never enjoying the overseas popularity of the two “official” Ring films, partly because no subtitled DVD, VCD, or VHS has yet to be released.
Ring 2 sustains the same clinical, George Romero style direction, but takes the story into fairly wild new ground as Mai Takano (a role reprised by Miki Nakatani) investigates the bizarre death of her teacher and possible love interest, Ryuji (played again by Hiroyuki Sanada). Aware that Ryuji was working on a strange problem with his ex-wife, and also having seen the expression on his corpse’s face, Mai’s curiosity is further piqued when Reiko, Ryuji’s ex-wife, disappears with their young child. Matters get even stranger when Mai learns that shortly after the disappearance, Reiko’s elderly father died under mysterious circumstances similar to those surrounding Ryuji.
An attempt to track down the whereabouts of Reiko leads Mai to the newspaper where Reiko used to work, though Reiko’s assistant Okazaki (Masahiko Ono) confesses that they have no idea where’s she’s gone to, either. Together, Mai and Okazaki follow a trail of clues and psychic visions (like Reiko and Ryuji, Mai seems possessed of some rudimentary form of ESP) that lead them to the sanitarium where one of the only surviving witnesses to one of these strange deaths is currently residing – the girl from the opening sequence of the first film, who saw her best friend attacked and killed by the ghost of Sadako. They also meet a crackpot scientist and friend of Ryuji who shares his former colleague’s interest in the supernatural, and using the young girl in his care, he’s devised a way to draw the supernatural energy, or curse, of Sadako out and hopefully put an end to the curse that has been propagating itself through a videocassette containing the psychic imagery of Sadako’s mind.
The trail also leads Mai and the doctor back to the island where Sadako was born, and finally to the hiding place of Reiko and her young son, Yoichi, who is soon revealed to have psychic potential that dwarfs that of his mother and father. He’s also well on the way to becoming a new generation Sadako, as a rage that has been building inside him since the events of the first film threaten to warp his development in the same way the tragic childhood of Sadako was warped by her incredible powers. Mai assumes responsibility for finding a way to save Yoichi from the same fate as befell Sadako, while she, the doctor, and Okazaki, struggle to find a scientific explanation and way of dealing with something that defies science.
Ring 2 does a lot right, but it also has some flaws that keep from ever achieving the overwhelming feeling of creepiness and desperation that made the original movie such a spectacular piece of horror filmmaking. Chief among its flaws is that it throws too much at the wall and fails to develop most of its ideas in a satisfying fashion. With all the pseudo-scientific mumbo jumbo being hurled about, the movie soon starts to feel like an episode of The X-Files, with too many theories being offered and not enough exploration of any single idea. Where as the first film was focused with an intensity rivaling the rage of Sadako, the sequel meanders from one idea to the other with no clear idea of exactly where it’s going at any particular moment. While it does help create an air of mystery and urgency, it’s not so successful that it makes up for the feeling that too much half-baked hypothesizing is going on. At times, the movie feels as much like a police procedural as it does a horror film, not unlike Exorcist III.
This movie also lacks the nail-biting, increasingly frantic race against time that kept the first film feeling like a thrill-a-minute ride even when it was moving very slowly. The “race against the clock” cliché is one of the most overused plot devices in film history, but the first film really made it work well. With that deadline removed from this film, and with the impetus for action being curiosity and Yoichi’s eventual development into a vengeful spirit, the threat is more vague and less pressing. It does share a common thread with the forgotten Rasen in that both movies are, in a way, about Sadako seeking a new physical manifestation. In the case of Ring 2, it’s by transferring her hatred to Yoichi. It’s just not as compelling an emergency, but I guess if I was Yoichi, I’d probably feel differently about that.
The thing that irked me most, however, was the off-handed way in which Reiko was handled. I like the fact that Ring 2 takes two fairly unimportant supporting characters from the first film (Mai and Okazaki) and turns them into the main figures this time around, but given that Reiko was the central character in the first film, she deserved much more consideration than she was given here. They either should have put more thought into her fate, or they should have left her out entirely. As it is, what eventually happens to her is poorly thought-out and executed in a way that fails to illicit any of the emotion that should have been generated by such a strong character. Again, I like her as a background character while the story moves forward with new characters, but I really just don’t like the somewhat feeble stuff they came up with for her.
Foibles aside, there’s still enough in this movie to keep it solidly on the “very good” side of the fence. Mai and Okazaki are excellent leads, and they perform superbly in the very difficult position of having to take over for two characters as solid as Reiko and Ryuji. The rest of the cast performs admirably, with little Rikiya Otaka once again proving that not all little kids in movies have to be precocious and annoying brats. He’s quiet and surprising subtle for someone his age, and the reason you can tell it’s subtlety rather than lack of talent Is because when he’s called upon to express rage, he does so in a disturbingly convincing manner that consists of some hate-filled looks and silence rather than the more predictable shouting and screaming.
There are also quite a few genuinely spooky moments even if the film as a whole fails to sustain the feeling for the entire running time. The movie begins with the revelation that Sadako lived for many, many years trapped in her well rather than dying. Anything that plays on our innate fear of being buried alive works well. Other effective moments include Mai finding herself trapped in said well with the ghoulish Sadako ascending the walls after her, and a few great second-long flashes of something appearing, like Sadako’s face while a picture is being taken of a clay reconstruction of her head. Probably the most effective scene in the movie besides Mai’s ordeal in the well is the scene in which she visits the inn from the first movie that serves as sort of the keystone for solving the tragic mystery of Sadako, and she witnesses the entire “mirror and hair combing” scene that was shown in flashes in Sadako’s cursed video. Mai’s stunned inability to even scream speaks volumes without saying a word.
It’s also impressive that they manage to drum up some new revelations about Sadako to further develop her as something more than just a hateful ghost out for revenge against anyone and everyone who happens to see her videotape. She continues to develop as a tragic main character, not just as a plot device. For the third film in the series, a prequel called Ring 0: Birthday, the series would rely on Sadako entirely, as the film focuses on her childhood and the events that lead to her transformation into a rage-filled spectre. None of the revelations about her are contrived or absurd, either. We’re doing much better than all that crap about Michael Meyers being the spawn of a druidic cross-breeding experiment, or Jason Vorhees being a little screaming worm parasite thing.
The revelations continue as supporting characters return for another dose of truth and uncovering of dark secrets. Once again, the old man at the inn plays an important part in the finale of the film, as the doctor attempts to use Yoichi’s rage to draw out Sadako (who sort of becomes imprinted on the minds of those so closely affected by her, like Yoichi and the girl from the beginning of the first film). As with Sadako, none of these further revelations are goofy and all make sense within the plot.
Although there is a lot of crackpot science being thrown about in the grand tradition of supernatural films, most of it, underdeveloped though it may be, is fairly believable within the context of the film and the fantastic. There have certainly been worse offenses committed under the banner of scientific explanation in horror films. Some of the ideas are fascinating to consider, chief among them how strong emotion can be transmitted through a variety of means, making even something as coldly technological as a videotape serve as a conduit for supernatural rage. A similar theory was also presented in the Hong Kong Ring rip-off A Wicked Ghost, and it’s something worth thinking about. Leave it to Japan to take spiritless technological things like a video cassette or a website (as in the incredible Kiyoshi Kurosawa film Kairo), and turn them into some of the scariest, most effective supernatural tools in film history.
Technically speaking, Ring 2 remains stylistically consistent with the first film. Hideo Nakata prefers to let the story do the work for him, adopting a minimalist style with long, static shots and very little in the way of camera movement and no wild flare. In that sense, I keep comparing him to George Romero. Both directors take a documentary-style approach to their direction, and with a less talented director, that could be mistaken for lack of talent. Nakata, like Romero, knows exactly what he is doing, however, and uses the plainness of his direction to establish a very real and believable world in which the incursion of horrific and fantastic elements becomes all the more disconcerting. Had he filled his film with flashy editing, special effects, and camera tricks, it would have been sapped of all its power. As with the first film, Nakata continues to prove that sometimes, less is more when it comes to allowing direction to intrude on the power of the story.
While Ring 2 fails to attain the level of the first film, which was a true classic, it’s still a damn good film, and once again it’s just refreshing to sit down and watch a movie that treats the subject matter and the viewer with intelligence. It gives us believable characters, normal people in extraordinary circumstance, who actually behave similar to how real people might actually behave. It’s mercifully free of any moment where the character does something so stupid it causes you clutch your head and groan in pain. It also doesn’t rely on cheap tricks, special effects, or gore, opting instead for that old school sense of dread achieved through the strength of the script and characters. You can’t watch this film without having seen the first one, but after you have seen the first one, Ring 2 exists as a worthy but not equal follow-up to one of the greatest films in horror history.
Scary movies are hard to come by. Gory? No problem. Sorta cool and creepy? Sure, we got those in spades. But genuinely scary movies are rare as diamonds and, to be, infinitely more valuable. There is something wonderfully affirming about watching a movie that keeps you awake at night, that gives you eerie nightmares. There’s something wonderful about a film that makes you afraid to get up in the middle of the night to go to the bathroom, or that makes you nervous about the fact that the closet door is open just a crack. It’s a delightful rush of adrenaline and apprehension, but scary movies have almost become a thing of the past. Too often, people are simply interested in delivering (and having delivered to them) flashy special effects and “style.” Thus a scary movie like the classic The Haunting gets turned into another “dazzling feast for the eyes” that leaves the soul and the brain still hungry for more. Bring on the scare, man! I can watch any hundred films for cool special effects, but the well from which to draw truly frightening films is well nigh dried up.
And then along came Japan. Ah, Japan, my salvation! Just as Hong Kong swooped in to save me from the doldrums of 1980s American action excess (and just as Korea later swept in to save me from the same thing in Hong Kong), Japan came to my rescue in the late 1990s by staging a horror revolution. While they cranked out plenty of atrocity exhibits that got by on gore and tastelessness alone, Japanese filmmakers were also rediscovering the age-old pleasures of simply scaring people, or at least creeping them out with eerie rather than gross imagery. Thanks in part to a boom in horror related manga, but thanks primarily to the discovery of the fact that Japanese girls were really into chilling horror movies, the scare revolution began with films like Birth of the Wizard and a movie that will go down in history as one of the most effective horror films of all time, The Ring.
On the surface, there is nothing especially fancy about the movie. The plot is familiar territory that has been explored countless times by other films. The direction is, for the most part, top notch but straight-forward, showcasing none of the wild innovation or surrealism of other Japanese horror films, like Uzumaki. In fact, the direction is almost clinical, documentary fashion stuff that reminds me of George Romero’s scientific approach in many ways. The dialogue, the acting, and everything else is very good but not anything that sets new standards for quality.
So what is it, you may then be wondering, that makes The Ring so damn good? For starters, it uses its simplicity to great advantage. While some writers pile half-baked subplots and digressions on top of each others like the angry and sullen clambering over one another in the muck of the fifth ring of Hell, in an attempt to give their stories some false sense of depth or importance, Takahashi Hiroshi’s screenplay (based on the novel by Koji Suzuki) keeps the story fairly straight-forward, which ultimately makes the twists and shocks that much more startling. Sometimes, as I’ve maintained before, the simplest things are the best things, and there’s no need to mask yourself with dishonest complexities when the straight-forward, honest core is so powerful.
Director Hideo Nakata also understands the concept of dramatic tension, the ability to build up an overwhelming sense of dread rather than go for the three-second shock of a spring-loaded cat popping up at the characters or the “sneaking up behind my friend to grab their shoulder” scare employed by every lesser horror film known to man. As always, it reminds me of the famous story told by Alfred Hitchcock when trying to explain the basic concept of tension, which was relayed back in the review of Tokaido Yatsuya Kaidan. Sadly, it is a skill that seems completely lost on the vast bulk of horror filmmakers today, not to mention going unappreciated by fans whose only real desire is to see a head or Jennifer Love’ Hewitt’s button-down top explode. I know I sound like the old horror fogy that I am when I bemoan such events, but so it goes. It’s not like I’m opposed to sex ‘n’ gore, to which many of the reviews here will attest, but liking one doesn’t mean you can’t mourn the passing of another. The other night, I was sitting around watching Bride of Frankenstein, thinking about how no horror movie that emotionally engaging or developed would ever be made today. There’s room for all types of horror, but no one seems interested in anything that relies of character or plot development.
Well, no one but the Japanese. Nakata handles the progression of the story with superb mastery, always favoring restraint over the cheap shock, allowing the sense of weirdness and dread to build throughout the entire film until, by the end, it is very nearly unbearable, and you find yourself white-knuckled and clutching the chair in anticipation of what’s coming next. That, in my opinion, is effective horror. Any buffoon can make a teenager jump by having one of those lame “shocks” like the cat or the sneaking friend, and big deal. You can make someone jump by just sitting next to them and suddenly yelling “boo!” for no reason. The Ring isn’t as base in its approach, opting instead to go the route blazed by classic horror films like The Haunting and Psycho or even Dawn of the Dead. It’s the type of scare that stays with you for days, even weeks, after the movie is over.
The Ring opens in classic horror film form, with two young girls home alone. One of them is telling a story about a cursed videotape. Once you are finished watching it, you get a mysterious phone call predicting your death in exactly one week, and then of course, one week later, you wind up dead. The second girl, Tomoko, isn’t as amused by this story as her friend, what with her and a group of friends having watched what may very well have been the cursed tape of growing urban legend fame one week ago. Tomoko tries to pass it off as nothing, but when the phone starts ringing, fear starts to rise. The entire scene, though hardly original or unpredictable, is beautifully paced. Even if you figure you know what’s going to happen, it still keeps you on pins and needles.
Enter then a sharp female reporter named Reiko, who works for what seems to be some sort of paranormal newspaper, or just a crappy sensationalist newspaper, possibly the New York Daily News. Reiko’s curiosity regarding the cursed video is piqued when one of her own relatives’ death is attributed to having seen the tape. Unfortunately, none of the other schoolgirls around can give any straight or concrete information regarding the tape. In classic urban legend form, it’s always a friend of a friend, or a friend who heard from this guy. A little investigative journalism uncovers the fact that a group of high schoolers from a nearby school have indeed all been dying off in strange, unexplained fashion, and they were all down in a rented cabin in the province of Izu.
Reiko makes the drive down to Izu to snoop around the cabin and eventually runs across a videocassette left behind by the kids. Although hesitant at first, Reiko soon pops the tape in a VCR and watches the bizarre, nonsensical few minutes of footage it contains, realizing immediately that this is the tape. Upon its conclusion, the phone in the cabin rings. What is said, if anything, is unclear, but it’s enough to freak out Reiko.
Back in the world, Reiko is increasingly upset by the video and the subsequent phone call. She enlists the aid of her ex-husband, Ryuji, a college professor who seems to have some sort of psychic ability. Ryuji is played by none other than Hiroyuki Sanada, one of the crown jewels (along with Sonny Chiba and Etsuko Shiomi) of the Japan Action Club during the 1970s and 1980s, not to mention being Michelle Yeoh’s co-star in the classic Hong Kong action film Royal Warriors. Although well versed in the paranormal, Ryuji is a natural skeptic and figures the tape to be nothing more than urban legend. He not only watches it, but has Reiko make him a copy so he can watch it over and over in an attempt to study and decipher the content. I guess he figures if you’re going to die after watching it once, you might as well annoy whatever malevolent force is behind it by watching it as many times as possible. Alleviating Reiko’s own fear somewhat is the fact that Ryuji receives no phone call after watching the video.
I wish I could say the same for me, however. In a lovely and more than a little unsettling coincidence, mere seconds after watching the scene in which Reiko views the cursed video for the first time, I got a call on the phone. Strange enough that I get a call, having as I do very few friends who use the phone. It was made more suspicious by the fact that it was around three in the morning, and even my friends aren’t rude enough to call that late without warning me ahead of time. Needless to say, I was as amused as I was scared to pick up the phone, and that’s a positive sign that the movie really managed to succeed in delivering the creepiness. Turns out it was some strung out dude calling the wrong number. Suffice it to say that The Ring will make you regard both your television and your phone with a little more suspicion.
As the week drags on, however, her fears begin to rise again, especially after her young son finds the tape and watches it himself. Determined to unravel the mystery, just in case something sinister is happening, Ryuji and Reiko follow a trail of clues to a small fishing island that was once the home of a woman with soothsaying powers. After being humiliated during a press conference meant to celebrate her powers, she and the professor who had “discovered” her went into hiding. A revelation on the island leads the duo back to Izu and the old cabin, where the final answer to what is happening lies deep underground. Or so it would seem. When doing a final bit of research to close the bizarre turn of events entirely, Ryuji discovers one more piece of the macabre puzzle that only Reiko can solve.
It’s an old story, one you’ve probably heard before, but The Ring pulls it off with such subtlety and effectiveness that it completely disarms you and keeps you guessing. Sure, you know what is supposed to happen in these sorts of ghost stories, but you’re never quite sure if the movie is going to go that route or forge off into some completely unexpected territory. It never allows you the comfort of familiarity even within a familiar type of story, and the end result is one of constant, growing fear. It truly is a beautiful experience to get this scared by such a seemingly simple movie.
It’s smart enough not only to avoid tipping its hand too early in the game and relying on horror film clichés to carry it through, but it also knows to avoid other obvious plot devices. In an American film, a story of two divorced people thrust together again by unusual circumstances would invariably become a story about them getting back together. That piece of crap Tri-Star Godzilla movie was basically a giant monster wrapping on a tired old “reconcile our past” romance with absolutely no imagination. While the characters of Reiko and Ryuji in The Ring are placed in similar circumstances, the plot never allows them to spoil things by turning into a shallow mockery of soul-searching with one of those “Why did we break up?” scenes with the predictable “Maybe we just loved each other too much” answers. There is no romance in The Ring, although it’s hinted that Ryuji may have been involved with one of his students. It keeps the movie focused on what it is supposed to be doing, which is scaring us.
The handling of psychic phenomenon is also well done. Ryuji’s “powers” are not as ludicrously illustrated as having him stand in a room and shoot wavy special effects out of his forehead or anything like that. Instead, his psychic ability is depicted realistically, or as realistically as you’d like to thing psychic abilities could be depicted. It’s nothing especially magical. Instead, he simply seems to be very adept at reading people rather than reading their minds, interpreting body language, reactions, and reading between the lines of statements to extrapolate some hidden truth. It’s nothing outside the realm of believability in the real world, and keeping the story grounded in very down-to-earth trappings is what helps elevate the horror of the truly fantastic elements when they come. Once again, subtlety and restraint prove to be two of the film’s greatest tools for constructing genuine, lasting horror.
On top of the expertly constructed plot is some fine acting. Sanada is, of course, a veteran, though here he gets to prove to genre fans that he can act as well as he can kick and shoot lasers. Actress Nanako Matsushimi, who plays Reiko, had very little experience before this film, acting in only a couple television movies. She is superb, wonderfully pulling off a character who is smart, determined, believable, and also not afraid to be afraid. And when she is afraid, you can feel it, and the palpable nature of her fright only helps augment your own fear. Despite what you may think, pulling off a strong, believable female character (or male, for that matter) is not an easy task. Sure, any hack director can plop a woman down in a scene and have her unload clip after clip into advancing bad guys without showing the slightest hint of fear, but that’s not exactly the sort of strength to which one can relate. Nor does it show very much character. And finally, it doesn’t help that this supposed bad-ass is almost always played by a model turned actress who maybe weighs ninety pounds and has all the muscle definition of David Spade.
The character of Reiko, on the other hand, demonstrates a much more believable type of strength. She’s not perfect, maybe even needs to ask for help, but she is smart, determined, and willing to forge ahead even when she’s wracked by fear. Nothing about her is overblown or of such preposterous proportions that she becomes unbelievable as an actual person. A weakly written script would have her seem like a superwoman who can solve any and everything thrown her way. Instead, we get a woman who perseveres and moves ahead regardless of her inability to answer every single question on her own. There’s a reason that this movie helped open the door for what has become known as “schoolgirl horror” in Japan, that is horror movies featuring strong but not cartoonishly infallible lead heroines. Par of The Ring’s success can doubtlessly be attributed to the fact that it doesn’t pander to not insult women, refusing to treat them as politically correct uber-women or as stumbling helpless bimbos. Instead, it gives us a very noble, believable, and imperfect heroine, and that character resonated deeply with lots of girls who saw the movie.
Reiko’s young son is also well played. Little kids in films, especially in horror films, are always an iffy proposition. More times than not, they drag the movie down with them into a kicking, screaming, whining mess. The children are often insufferably irksome, or they are in a plot where they save the day and exhibit skill and intelligence far beyond what is believable even for one of those genius super-babies. Additionally, most films with children in them never really want to upset potential parental audience members by putting the kid in any real danger, so you know that ultimately nothing is going to happen. The Ring suffers from none of these fatal flaws. The young Yoichi is rarely the center of attention, and when he is, child actor Rikiya Otaka is somber, soft-spoken, and completely devoid of the annoying traits most children in movies (and in real life, for that matter) tend to exhibit. Because of this, when his fate is called into question by his viewing the videotape, you actually don’t want to see him die a horrible and mysterious death. Funny how much more effective a film can be when you don’t want bad things to happen to the characters. I wish more horror writers and directors would realize this.
The icing on the cake is the music, which by itself is enough to illicit nightmares. Composed by Kenji Kawai, who also did the phenomenal soundtrack for Ghost in the Shell, it is perfectly suited for the film, sounding as it does like a cross between wailing souls, scraping metal, and something that Coil might have concocted on that unused Hellraiser soundtrack they did. It’s just one more difference between successful horror like The Ring, and the other crap we have out there that eschews using music to set the mood and instead uses an unrelated parade of pop hits to sell soundtrack CDs.
It’s an amazing film in every aspect, and for my money, it will remain one of the greatest and scariest horror films of all time, easily ranking among the past classics. Intelligent writing and masterful filmmaking elevate the proceedings far above the herd, and what is in one sense little more than a very good popcorn movie takes on much deeper qualities. The struggle of modern Japan and the modern Japanese against a very ancient, and traditional terror, not to mention the use of a relatively modern technology as the manifestation of this terror, speaks volumes without hitting us over the head with clumsily and heavy-handedly handled messages. There’s also a well-crafted message in the film about a generation of parents who allow the television to do the child rearing without any real regard for what it is the kids are watching, even if it’s violent pro wrestling shows or cursed video tapes. Again, the message is there but not at the forefront of the movie, never overshadowing the simple, visceral delight of being scared out of your wits by a movie. The Ring is a testament to quality horror filmmaking and should be required viewing for any fan of the genre.
The popularity of the film spawned all sorts of mildly confusing offspring. Both The Ring 2 and The Spiral are sequels, though made by different people and following different paths. Ring 2 is generally considered to be the official sequel, with The Spiral being a somewhat official sequel, but not really. Both films are quite good. Another rarity in the horror genre, I suppose: sequels that, while not quite as good as the original, are still very good. A television show was also made, and a third film, Ring 0, followed part two. Rather than continuing the story, however, part three is a prequel (thus the zero in the title), and by the time it was made, the magic (not to mention the director) had left the series, resulting in a movie that is at best a pale and distant echo of the original. On top of all that, a Korean film called Ring Virus based on the same original novel was made. That movie is also quite good.
Far and away the best thing about The Ring, and the real proof of just how solid a chiller it is, is that a week after watching it and thus watching the cursed video in the film, you’ll start to get fidgety and start thinking about how maybe you should be making copies for your friends and enemies and inviting them over for a viewing.
There’s a lot of things I love in life. Good food, good friends, travel, a fine kungfu film, a crappy kungfu film — the list goes on, but few things can make me all warm inside quite like a ghost story. Growing up in the rural South, ghost stories and folklore about haints, beasts, and certain death lurking in the woods were a given, and like many Southerners, I developed a healthy dark streak and affinity for the more macabre side of life — or death. Whichever. I think it probably comes from the fact that the South is a very bloody, death-filled part of America. From the Revolutionary War to the War Between the States, on to the struggle for civil rights, the soil of The South is as rich with the blood of countless Americans as it is with the history of America itself. You have to learn to deal with the dark stuff, and it’s a lot better to deal with it as “a spooky but familiar friend” than some sort of antagonist.