My first (and only, up to this point) “experience” with The Grudge franchise was the first American remake in 2004. What little I remember of it has failed to leave a lasting impression on me. With the impending release of yet another remake/re-imagining, I figured I would seek out the original and see how it stands up in 2020.
Of course when I say “original” I’m talking about Ju-On: The Grudge, which is apparently the third in the Japanese Ju-On series. The film follows a somewhat unconventional and non-linear format, jumping from character to character to chronicle the spread of the titular curse. While it’s very clearly a supernatural horror film, this decision to tell the story in such a way gives it slight vibes of a viral outbreak thriller, albeit on a very small scale and without anyone really trying to stop it.
The closest thing the film has to a main character is Rika (Megumi Okina), a social worker tasked with looking after an elderly woman, a current resident of a house once inhabited by a man who, in a fit of rage, murdered his wife, young son, and housecat. This act of violence corrupted the house, making those who come in contact with it become consumed by the rage of the event, manifested by being stalked by the ghosts of Kayako, the wife (Takako Fuji) and Toshio, the son (Yuya Ozeki).
Being that the film is now almost two decades old, I was still surprised that much of the film has not aged well. Parts of the film rely heavily on digital effects that look primitive compared to today’s low budget standards. The most off-putting of effects is Kayako’s ghost, who occasionally moves as a black shadow that looks incredibly artificial, completely divorced from its surroundings. I much more preferred the practical effects used, for example, when she appears as the battered, twisted corpse that I imagine most people associate with the film, writhing awkwardly on her stomach down the stairs.
All in all, it’s hard to argue against Ju-On: The Grudge‘s role in the surge in popularity of J-horror in the early 2000s. Despite its flaws, it’s undeniably iconic imagery and rather novel approach to a horror narrative distinguish it from much of the rest. I can also see how this film might have been completely overlooked by western audiences if not for the success of films like The Ring and by extension, the original Ringu.
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