Film Review: Ju-on: The Grudge (2002)

Ju-on to watch this film. *ba-dum tish*

Ju-on: The Grudge (2002) is the third installment of Takashi Shimizu's Ju-on series, and the first to be released theatrically. The film depicts six interconnected stories all centering on a house in Japanese suburbia and the people associated with it. This is no ordinary house; it is plagued by the curse of a deceased man and his murdered wife and son, as when one dies "in the grip of a powerful rage," such a curse is created.

"Clarity" Treatment

In a forest, a boy, sitting on a log in a clearing, ponders his existence. Things are always the same. He thinks of the torture, the pain, the anguish of his everyday life. He considers the teasing and the bullying, the pressure, and the ennui. But most of all, he dwells on the loneliness. He has no friends, no companions, not even any acquaintances. He's a loner--he, himself, and him, all alone in this cold world.

In town, the boy, sitting in a chair in the school office, ponders his existence. Noting a flier for a local group therapy session, he scoffs. No one understands his struggle. No one can relate to him. Hell, no one even tries. He's a loner--he, himself, and him, all alone in this cold world.

In the forest, just like every day, the boy approaches his log. Out of the corner of his eye, he sees something new. A carving on a tree. Long ago, in despair, he had carved a note reflecting his feelings. However, what he saw was not what he remembered. A new mark. Just two words: "What's wrong?"

A flurry of emotion sweeps over him. Embarrassment, relief, doubt, clarity, happiness, sadness. But most of all, confusion. He looked around. Had someone really found his spot? What did they want? Did they really care? Did someone... care?

Oral Research Part 4 - Narrative

IV 

The five minute excerpt which I've chosen to analyze takes place from 1:07:37 to 1:12:37. Here, Dae-su and Mi-do trace their target's clues to Dae-su's old school, Evergreen High School, where he and the antagonist--discovered to be his former classmate Lee Woo-jin--were fellow "Old Boys" (that being the school's mascot). Dae-su's investigation and cell-phone conversation with high school friend Joo-hwan digress into a discussion of Woo-jin's sister, Soo-ah, and her whorish ways. Enraged, Woo-jin, who had been listening during the entire conversation, murders Joo-hwan. Both hero and villain subsequently suffer emotional breakdowns.

I chose this section because it serves as a sort of transition from the mystery "whodunit" atmosphere of the Oldboy's second act into the third act, in which Dae-su gains his vengeance and redemption. In creating this scene, director Park Chan-wook incorporates nearly all of the film's most prominent themes as well as some of its most genius screenwriting, beautiful cinematography, engaging score, and fantastic performances.

The significance of this selection as far as the overall narrative is that it bridges the gap between the film's mystery and its resolution. Dae-su and his companion Mi-do, in the beginning of the scene, follow the antagonist's clues to his alma mater, where they discover the identity of Dae-su's imprisoner. Woo-jin's motive is hinted at but not revealed in its entirety as he has an emotional outburst at the implication that his sister was, to put it appropriately, very sexually active.

Oral Research Parts 2 and 3 - Historical and Institutional Factors x Socio-Cultural Context

II

I've explored in the previous post the great importance of Oldboy's creator, Park Chan-wook. His role as the creative vision behind the film is reflected in the usage and prominence of the themes of revenge, violence, and salvation.

Unfortunately, due to its being a foreign (South Korean) film, there is little research I can do as far as the significance of its other creators or its production company. However, further insight can be made into the film's political background. The film opens in 1988, just after the beginning of South Korea's Sixth (and current) Republic. The nation had just undergone major reform after a period of military regime. While the portrayal of Oh Dae-su's fifteen-year imprisonment is brief, references are made to numerous historical events of the period including the inaugurations of three presidents, the Seoul Olympics, and the signing of the IMF. While care is taken to display such significant events, none of these play notable roles in the overall film.

The majority of Oldboy takes place in a modern, contemporary setting: 2003. Therefore, aside from a few technological advances, the film depicts a very familiar time to now, and much of the film is recognizable as such. Additionally, because it is relatively new, the film reflects many modern filmmaking techniques. The cinematography and editing are reminiscent of that of a summer blockbuster: quick and stylized. While some aspects of the film require enormous suspension of disbelief, other elements are immediately believable due to their familiarity.

Oral Research Part 1 - Genre and Audience

I

Oldboy (2003) is a revenge thriller with elements of action, mystery, and romance intertwined. The first is evidenced by the heavy emphasis throughout on suspense, excitement, and tension as protagonist Oh Dae-su frantically pieces together the reason for his 15-year imprisonment. This also relates to the film's classification as a mystery; for a portion of the film, the plot is a whodunit of sorts. Elements of action are prominent in the numerous fight scenes as well as the protagonists' scurrying around the city. Finally, the romantic aspect of the film is the relationship between Dae-su and his newfound love Mi-do; furthermore, the power of love is explored through the film's overall story.

Regarding connections to other works, there are two that are stated by director Park Chan-wook. First of all, the film is loosely based on the Japanese manga of the same name. Additionally, it is the second entry in Park's Vengeance Trilogy, spiritual successor to Sympathy for Mr. Vengeance (2002) and succeeded by Sympathy for Lady Vengeance (2005). Like its companions, Oldboy deals with themes of revenge, violence, and salvation. Aside from these, the film can be described as Kafkaesque, being particularly comparable to Kafka's The Trial, in which protagonist Josef K. is also obliviously imprisoned.

Ideology in Film

Ideology is the set of ideas that direct one's thoughts, goals, and actions. Implicit ideology, in terms of its use in film, refers to that which is under the surface. Implicit values require deeper analysis and foster increased thought. Explicit values are above the surface. Such ideology is openly declared by the filmmakers or within the film.

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One actor who presents a predictable ideological package is Harrison Ford. Earlier in his career, Ford typically played a rebellious hotshot; a pretty boy with a smart mouth, but who is overall an okay guy. Such examples of this include the arrogant street racer Bob Falfa in American Graffiti (1973); Han Solo, the intergalactic smuggler turned Rebellion leader in the Star Wars original trilogy (1977, 1980, 1983); and college professor/archaeologist/adventurer Indiana Jones in the namesake franchise (1981, 1984, 1989, 2008).  As his career progressed, he became known more as an older man caught in a situation requiring action, such as retired blade runner and possible replicant Rick Decker in Blade Runner (1982); ex-CIA agent Jack Ryan in Patriot Games (1992); and scientist Dr. Norman Spencer in What Lies Beneath (2000). The five most fitting adjectives for the roles that Ford plays are bold, sarcastic, charismatic, impulsive, and slightly childish. In his next role, due to his age, I anticipate that he will be a grizzled old veteran in an action movie, possibly co-starring a "young newcomer" archetype as his sidekick or partner.

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One of my favorite films is at left: Paul Verhoeven's Starship Troopers (1997). I like most of the characters to a degree; at the very least, I feel sympathetic to most of them. My favorite character is Dizzy Flores, friend and comrade of main protagonist Johnny Rico. What I like about Dizzy is her character arc and the great metamorphosis she undergoes throughout the film. In the beginning, when the characters are still in school, Dizzy is characterized by her unrequited love for Johnny. As the film develops, the characters enlist in the military and Dizzy eventually becomes a valued partner, Johnny's significant other, and finally dies a martyr. The filmmakers encourage such sentiments mostly through her evolving relationship with Johnny. The values promoted through Dizzy are those of love, peace, and open-mindedness, as the most emotionally significant moments concerning Dizzy relate to these: her and Johnny's falling in love and her death in battle. In order to emphasize the viewpoints he wished for us to come to, Verhoeven gradually moves shots of Dizzy from emotionally nondescript medium shots to more expressive, high key close-ups with that make Dizzy appear more attractive and desirable. Additionally, the editing reveals her counterparts' reactions to her actions; the audience sympathizes with the emotions displayed.

Genre Study