I have gotten to the point in watching dismay films that when I watched the American production “Unimaginative Birds” I was wondering if this was another adaptation of a Japanese scare film. Apparently the Japanese near to the genre, which has become well established on this side of the Pacific because of the success of “The Ring” (nee “Ringu”) and “The Grudge” (nee “Ju-on”) . However, with “Murky Water” (”Honogurai mizu no soko kara”) I found myself thinking how different this 2002 grief from director Hideo Nakata (who did the “Ringu” films) from contemporary American efforts in a different device. Too many American alarm films go the route of “Jeepers Creepers,” where there is a sparkling advantageous area up and then the film goes down hill and the payoff is disappointing in the gross. But with “Shadowy Water” I was not overly captivated by the residence up, but found that the payoff really hit home.
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At this point let me warn you that when you launch watching “Unlit Water” on DVD it goes honest into the dubbed English track, at which point I open having flashes benefit to all of the badly dubbed Japanese movies I grew up on (which inevitably leads to thoughts of Woody Allen’s “What’s Up Tiger Lily? “) . My strong recommendation is to finish the film and execute obvious you have the current Japenese language track and the English captions. Fans of the apprehension genre should be at the point where they can like the natural language and rhythm of Japanese cast. Most of the key sequences here do not require you to do a lot of reading so it is not a titanic sacrifice and the nuances of the culture are totally lost in the dubbed version.
Yoshimi Matsubara (Hitomi Kuroki) has divorced her husband and is in a custody battle for her six year feeble daughter, Ikuko (Rio Kanno) . In an attempt to produce a novel inaugurate, mother and daughter disappear into an apartment, where unusual things begin happening. The weirdest are the mountainous water stains that appear on the ceiling and originate dripping away and the red children’s bag that initiate popping up every spot Yoshimi goes. Then the dull child to whom the bag belongs starts showing up as well. So we have what we would now be thinking of as your basic Japanese ghost record. But there is a bit more going on here as well.
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You observe, Yoshimi has some difficulty being a working mom. She needs a job to survive, and too often Ikuko gets lost in the lumber, which sometimes means the kids is left standing outside her kindergarten waiting for her mother when all of the other kids have left. As you would anticipate, there is an attendant irony in this as well. But the pressure is getting to Yoshimi who thinks that she is slowly going insane, which works well given all of the above. Characters in these sorts of movies often procure so afraid that they might go insane, complete with wild eyes and exasperated cackling, but you do not have them questioning their sanity as often.
“Unlit Water” is a less complicated and more subtle fright myth than “The Ringu,” which is the sure point of comparison since Nakata and his co-screenwriter Takashige Ichise did both films (the yarn here is from a current by Kôji Suzuki. So it is inevitable that this film seems a lesser anguish, but that does not really catch away from its effectiveness. When we got to the conclusion I found that I liked what happened, and when the inevitable epilogue reinforced the fact, I liked it even more. I do not deem this is a expansive scare film, but I judge it is a solid one and I certainly liked it more than the unique “Ju-on.”
Dark Water poses an elemental question: How do we evaluate a society? Koji Suzuki’s respond may be in the map we treat our children, and Director Hideo Nakata’s haunting adaptation of child abandonment and parental sacrifice doesn’t fail to verbalize.
Dark Water begins with Yoshimi Matsubara (Hitomi Kuroki) in the throe of a bitter divorce, and embarking on a recent life with her young daughter, Ikuku (Rio Kanno) . Needing to relocate, they determine in a dank riverfront apartment in a desiccated Tokyo neighborhood, staffed by an opportunistic property manager and recalcitrant superintendent. Yoshimi’s less than ideal recent job, and Ikuko’s trepidation about attending a current school add to their alarm. Their struggle takes an unexpected turn when Yoshimi senses the ghostly presence of a young girl, wearing a yellow pauncho and grasping her red Mimiko school bag, which Ikuko later finds, but Yoshimi won’t allow her to maintain. Despite its disposal, the bag mysteriously reappears throughout the film, poignantly punctuating the situation. Yoshimi realizes the serious nature of the girl’s presence, who manifests herself, at first, with a watermark on their apartment ceiling, looking powerful like Sadako’s ring from Ringu, before worsening into an ungainly apparition with the passage of time. Yoshimi’s unique responsibilities withhold her from picking-up Ikuko after school on time, on a few occasions, which fuels her estranged husband’s drive to collect Ikuku’s custody, haggaring an already frustrated Yoshimi.
But here is where the mystery deepens.
The waterworks are accompanied by footfalls from apartment 405, leading Yoshimi to investigate. She learns that a young girl, Mitsuko Kawai, lived in the apartment and was abandoned by her father, following a broken marriage. Moreover, Mitsuko may, in fact, be competing with lkuko for her affection. Emotionally torn, Yoshimi must try to protect her daughter from Mitsuko’s pursuit. If this sounds familiar, do not misunderstand. Sunless Water is a recent film, with its possess epic to insist, certain but not disconnected from Suzuki’s Ring series, and well worth viewing.
Children–particularly infants, young girls, the infirm, the traditional and the elderly–are society’s most vulnerable members. Two decades ago, novelist Morris West grappled with a similar theme (among others) in the Clowns of God (1981), which debated whether or not the mentally incapacitated had the apt to survive a world catastrophe. (You’ll need to read his modern, for yourself, to learn his retort.) In Unlit Water, Hideo Nakata masterfully brings to life a young girl’s ghostly search for appreciate and acceptance that overpowers the living. Elegant performances abound, underscoring Mitsuko’s heart-wrenching tragedy and society’s penance.
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