Somehow, though, these elements, cobbled together in The Grudge (Sony/Universal Studio's American remake of Japanese horror director Takashi Shimizu's Ju-on: The Grudge), are unspeakably frightening. Even more so for North American audiences who have no idea what they're watching, and even less idea what the hell to do with it. Happy Halloween, people.
Thirty-two-year-old Shimizu was already a celebrity in the Japanese horror scene when Sam Raimi decided to remake his original Ju-on, which spawned a series in Japan, for the American multiplex. Luckily, Raimi - the cult-hero trash auteur behind such disparate Hollywood artefacts as The Evil Dead and the Spider-Man franchise - knows not to mess with a good thing. Shimizu's Hollywood mission? To evolve the movie just enough to sell to homegrown thrill seekers, with lip service to the expository narrative logic that we bank on, but otherwise to make the same movie again. Without CGI. And in Japan, with a Japanese crew, then taking it to California for post-production. He was to keep the mood, the look, the rhythms,
"When Rob [Tapert, Raimi's producing partner] and I saw Ju-on, we thought it was brilliant," says Raimi. "Our job was to change as little as possible while making it acceptable to American and Canadian audiences. Though we have the best movie technicians in [the States], the Japanese now have the best horror ideas in the world. We thought we would combine the best of both worlds, without fouling the original from the beautiful origami piece that it was."
The resulting nouveau-horror artefact could, hopefully, break ground for a new genre of horror movie: a Lost in Translation-type fish-out-of-water story with appeal that extends beyond the art house and into the imagination of your average moviegoer. A new style of horror flick that disquiets from inside instead of peddling blood-and-gore shock-rock like the usual Freddy or Jason sequels.
For Raimi, the key to this new flavour of horror was to hire Shimizu himself to remake his own story, and keep it real - or, at least, really, really weird.
"Shimizu works with the story with his own ideas. For instance, he believes that this evil is timeless," says Raimi. "It doesn't move in a linear way.
"I think he has given us what the old-fashioned horror filmmakers used to give us - just some room to use our brains. He demands that you provide your own answers and makes you become involved. And that causes discussion, and it plays on our fear of the dark - what's out there?"
Shimizu's out there
Takashi Shimizu is a film director of varied talents and interests beyond the Grudge proto-franchise. In fact, his recent experimental socio-politico-pornographic adventure Marebito is showing at the Festival du nouveau cinéma on the same weekend as The Grudge hits wide release.
"[Marebito] was one of those low-budget experimental things, which I was allowed to do but with a [total] shooting budget that was not as much as my pay for remaking The Grudge," says the director. "We were shooting eight days, and I thought, I can shoot that in Japan, and go back to America to do post on The Grudge. That film, though, was invited to a whole lot of festivals I could not go to because of working on The Grudge."
Marebito is, among other things, a rewarding ticket for anyone who got off on Freeze Me or Audition at past Fantasia festival screenings (in fact, famed Japanese actor/singer Ryo Ishibashi, Audition's leading man/victim, has a role in The Grudge as a doomed Tokyo policeman).
Meanwhile, Shimizu, to date, has directed four permutations of The Grudge in Japan, as well as the American remake.
"I did not want to do the remake, at first," he says. "The main reason I did it was my [admiration] for Sam. He asked me to please bring in a Japanese taste, and that seemed like a great challenge, so I decided to do it.
"But once we started to actually make the movie, the producers started to contradict each other. Some said that so many things in the original worked so well, but they seemed not to believe it would [translate] to something Americans could watch."
Buffy says what?
The Grudge is fairly simple, and similar to the original. (For the purpose of comparison, Cinéma du Parc is graciously playing the original Ju-on in congruence with the wide release of the remake.)
An ordinary house in Tokyo retains lingering badness (the titular grudge) because of a malevolent murder/suicide that happened years ago. Anyone who enters the house - namely Sarah Michelle Gellar (of Buffy the Vampire Slayer fame) and her boyfriend Jason Behr (the hottie from Roswell) - are torturously pursued by otherworldly presences that mean them ill.
Of course, the main draw - and the box-office bet - for The Grudge is Gellar's enthusiastic participation; she accepted the role as a rare film gig to punctuate her tenure as the title character on TV's long-running Buffy.
"I love to travel more than anything, and when I found out we were filming in Japan, I was [sold]," she says. "For one thing, I love Japanese movies... I think everyone has one place they want to go more than anything, and I loved everything about Japan. The food, the alcohol, the movies, the culture. I love the culture because it is so much about respect. How everyone... takes their shoes off, and says thank you, and is really respectful of one another."
Gellar plays the most prominent victim of the vengeful ghosts with so much vulnerability and intrepidity that, in the weeks after Psycho star Janet Leigh's death, her performance is almost a homage.
For Gellar, the Japanese-style requirements of Raimi and Shimizu's modus operandi was sometimes an experience in faux vérité: The shower scene (already famous from the memorable trailer) was shot over seven and a half hours with full crew and no CGI in "a really cold shower, with 14 modest Japanese male crew members who were equally uncomfortable, and one actress's poor hand."
Gellar and Behr were also privy to Japanese rituals on set:
"The amazing thing was they started the shoot with a purification ceremony, which is traditional in Japan whenever there's a movie that has to do with spirits or ghosts," she recounts. "They brought in a monk to bless everybody, and I was scared. Then I had to get up and do these things like clap and [make offerings] and it was, well, to me, similar to the hokey-pokey... but more spiritual. It was a beautiful ceremony, and at the end we had to drink sake. Even the Sony executives had to do it. Any ceremony that requires us to drink alcohol at 11 in the morning, well, I'm all for it! It was the best experience I ever had working, and I hope this is a chance to get American audiences more in tune with Japanese movies."
For all the cross-cultural warm fuzzies, The Grudge produces a thoroughly disconcerting, unpleasant horror experience for the Western moviegoer. In other words, we get our money's worth.
For the fan-boys, as a bonus, Gellar responded to a request to list her favourite of all the "really great" Japanese movies she loves:
"I saw Hero at least two years ago, and it was the most aesthetically amazing movie I had ever seen... and there's a great movie called Shaolin Soccer that just disappeared out here."
Well, at least they're from the same continent.
The GrudgeJu-on: The Grudge Cinéma du Parc, Oct. 26 to Nov. 6Marebito At the Festival du nouveau cinéma , Oct. 22, 11:30 p.m.
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