Japanese production that inspired work from 2002 is in the service’s catalog
At this point, many already know the iconic Samara, the girl with long black hair who comes out of a well and kills everyone who watches her tape within seven days. The villain has become a horror icon in the early 21st century thanks not only to her striking look or different modus operandi, but also to being a centerpiece of the film. The call made by Naomi Watts.
However, as is well known, the famous horror is not an original production but a western remake of a 1998 Japanese film. diverge from that expected by audiences in other corners of the world and who are used to another model.
Usually Japanese filmmakers tend to opt for supernatural plots when dealing with this genre, focusing mainly on the way the beyond relates to earthly beings. Mud 2005 is an example of this kind of preference for the supernatural as well, albeit coming later. Anyway, the idea for The ring popped into the headmaster’s mind Hideo Nakata with the co-writer Hiroshi Takahashi after he read the homonymous book of 1991 written by What a Suzuki.
The central idea of the novel, in turn, was not so far from what was transposed to the screen; starring a journalist who suspects the connection of four deaths, all of natural causes but involving young people, decides to conduct an investigation to determine what is happening. His path ends up crossing that of an urban legend about a tape that kills viewers within seven days.
Evidently he manages to track the tape to a cottage where the latest victims were staying and there he watches the material. Although the 1998 film took narrative liberties in adapting the existing material, with the list of changes ranging from character genres to the workings of the curse cast by Sadako Yamamura (Samara) through the tape, a preservation can be seen. of the essence of the story as psychological terror.
Certain driving techniques employed by Nakata they show the desire to keep the story as something of lesser scope but of extreme urgency for the characters, such as making it clear that the protagonist has an emotional connection with her son; has a very detailed investigative journey where one clue always leads to another; a look taken by a cold photograph, which avoids bright colors at all costs or too wide scenes.
This minimalist tone used in the visual of the work gives it a feeling both of the personality already mentioned for the characters and, in the case of the spectator, the maintenance of attention in the story; something that could be lost if the film had too many special effects or a more flashy look.
Sadako herself turns out to be a very useful scripting device as she is not a constant figure, in physical terms, in the story. His threat is always in the air and the mystery behind the tape as well, however, even for budget reasons, his appearances are likely to be sparse; which ends up forcing the creative team to know when to show it clearly in the film.[display-posts orderby="rand"]
This feature is not new in the field of terror (Spielberg did it in shark decades before) but it is always a welcome option that pays off when used well. The ring it was a work that quickly became a reference in Japanese horror; is a very interesting compilation of techniques developed by this school in previous decades. Around 1999 the film received a sequel, this one that came under criticism for focusing more on scares than on creating an atmosphere like the previous one had done.