“The Grudge” (2004) opens with a moment that stayed in my mind for 17 years: A young woman (Yoko Maki) peeks into an attic to investigate strange sounds, looks around … and suddenly there’s a ghost behind her! A moment later, the opening credits are completed with director Takashi Shimizu’s name.
Pasty ghosts and creepy sounds
You know you’re in for scares when one of them comes during the opening credits. Indeed, Shimizu’s English-language remake of his own “Ju-On” delivers throughout. Along with “The Ring” (2002), it’s a prime early example of Japanese horror’s worldwide influence.
“The Grudge” builds mood between its scares, and of course features a damp, pasty, dark-haired ghost. In this case, it’s two for the price of one, as female ghost Kayako (Takako Fuji) is joined by young boy Toshio (Yuya Ozeki).
“The Grudge” (2004)
Director: Takashi Shimizu
Writers: Stephen Susco (screenplay), Takashi Shimizu (original film “Ju-On: The Grudge”)
Stars: Sarah Michelle Gellar, Jason Behr, Clea DuVall
It adds that creepy sound – the reverse of someone clearing their throat – to the library of horror audio, giving the “Scary Movie” franchise’s scribes a new cliché for their notebook.
When gruesome images come up – a dismembered jaw in an attic, and later the ghost sans jaw – we get only a glimpse. J-horror has that classy quality to it.
Pervasive loneliness
And Shimizu – working from Stephen Susco’s English-language screenplay – gives us a prevalent “stranger in a foreign land” feel.
Sarah Michelle Gellar’s Kate and Jason Behr’s Doug at least have each other. It’s nice to see them paired again after “Lie to Me” (“Buffy” Season 2), although this is a straightforward young-lovers relationship. And they don’t have as much screen time as you’d think.
When we flash back to the family that was the previous step on this curse’s journey, they each have their own sense of isolation.
Clea DuVall’s Jennifer doesn’t want to be in Japan; her husband Matthew (William Mapother) wants her to give it a chance. Matthew keeps his dementia-stricken mother, Emma (Grace Zabriskie), with them, but he’s oblivious to her (supposed) nighttime wanderings around the house.
Meanwhile, sister Susan (KaDee Strickland) also lives in Tokyo, but can’t get her brother on the phone. In one sequence, a wigged-out Susan takes a cab from her office back to her apartment, and the city seems nearly empty – which in reality is impossible.
“The Grudge’s” lonely vibe is of a piece with “Lost in Translation” (2003), but it purposefully drops Tokyo’s haunting beauty, keeping only the “haunting” part.
Artifacts of translation
I think it’s less purposeful that the Americans’ presence in Tokyo seems weird. Japan allows very few immigrants, so it’s odd that we see so many who are integrated into society, and without demonstrating a proficiency for the language on screen. Karen’s boss at the care center, Alex (Ted Raimi), is also American.
I think this is an unintended artifact of the remake process. I’m looking forward to rewatching “The Grudge 2” – the first of three sequels — with its American setting that might feel more natural.
More nitpicking: The Grudge ghost can do whatever it feels like. Jamie Kennedy from “Scream” would not approve of how this film adds new “rules” as it goes along.
The ghost brutally attacks some people, but also has the power to drag a victim into oblivion, leaving no corpse behind. It can mimic voices and appearances. The ghost is a little too powerful to be interesting.
It’s Shimizu’s expert direction that makes “The Grudge” a strong scare film. The point is not to analyze the ghost’s powers but to soak up the oppressiveness where, indeed, there is no escape from the curse.