Back around the turn of the century, there were few directors as committed to the maligned Hong Kong horror genre as Tony Leung. Unfortunately, Tony Leung wasn’t a very good filmmaker. And double unfortunately, he wasn’t a bad enough filmmaker. Everything he made had an air of middling, uninteresting near-competency about it, the work it seemed of a talented amateur or an untalented professional. Now before you fire off an angry email (do people still use email?) telling me how great Tony Leung is, keep in mind that I am not referring to the Tony Leung who starred in Ashes of Time. Nor am I referring to the Tony Leung who starred in Tom, Dick, and Hairy. Oh wait, that’s both Tony Leungs. Oh, you know the guys: Chiu-wai and Kar-fei. And maybe that third Tony Leung, action choreographer Tony Leung Siu-Hung (Bloodmoon, Superfights).
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.
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.