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.