Susan makes it safely inside when her phone rings. It is Matthew claiming to have forgotten her apartment number and asking to be buzzed inside. She tells him where to find her and activates the buzzer with the phone. The doorbell rings immediately after she hangs up. Thinking Matthew could not possibly have had time to arrive, she checks the peephole of the door.
Shocked to find it is Matthew, Susan believes he is pranking her. She angrily throws open the door, but no one is there. The death rattle emanates loudly through the phone in Susan's hand. She drops and breaks the phone, yet the rattle can still be heard. Cowering in the bed, Susan reaches beneath the covers and pulls out the rabbit's foot phone charm from her phone and drops it in fear. A lump billows from underneath the covers and moves toward Susan. She lifts the sheets, seeing Kayako's face.
She is abruptly pulled under and both disappear. Yoko is a girl whose work is to take care of Emma and clean the house. While picking up trash on the floor and stairs, she hears someone walking around up in the attic. Following the noise, Yoko enters a closet in the bedroom and sees a small door in the ceiling, which leads to the attic. Using a lighter, Yoko sticks her head up through the door and slowly turns around, looking for the source of the sound.
She eventually comes face to face with Kayako, who attacks her and pulls her up into the attic. Karen Davis is then called in to work at the house in Setagaya and care for Emma after Yoko disappears. While working, Karen finds a closet that has been taped shut with cat-like noises coming from it. When she rips off the tape and opens the door, she finds a little boy. The boy refuses to come downstairs so she asks him for his name.
Emma begins stirring and muttering in the other room. As Karen calms her, a dark shadow of hair emerges from a corner of the room, terrifying Emma. Karen looks up to see Kayako reaching for Emma. Kayako's hair, which was covering her face, flies back to reveal the whites of her eyes.
The irises roll into place and focus on Karen as she backs away in fright. Alex , Karen's boss, finally arrives to find Emma unconscious and Karen in a state of shock. Karen is taken to the hospital while detectives question Alex. Detective Nakagawa asks Alex about the people that lived there, and tell him that Yoko has been missing from work.
The detectives notice that the phone handset is missing from the cradle and push the page button. They trace the sounds to the attic where they discover the corpses of Matthew and his wife.
They also make a grisly discover of a human jaw and wonder to whom it belongs and where the rest of the body might be. Later, Yoko is spotted again by Alex as she is shuffling down the stairs of the caretaking facility where Alex, Karen, and Yoko work. As he is walking towards her, he accidentally slips on a liquid, which he discovers is blood when he touches it. Alex calls to Yoko, who does not answer in any way until he reaches the bottom of the stairs.
She then turns around to reveal her face. As Alex screams in horror and dies, her face is shown to now be horribly disfigured, missing her lower jaw and with her tongue hanging out, while the screen fades to black. Karen tells her story to detectives, emphasizing the appearance of a boy.
Over the next few days, she is constantly tormented by Kayako. Frightened but determined, she starts researching the history of the house on the Internet. Eventually, she learns of the murders from the website of a Japanese newspaper. On the same page, she also comes across the news of the death of the American professor, Dr. Peter Kirk. She now decides to learn the entire history from Dr.
Kirk's widow, Maria Kirk. Detective Nakagawa becomes convinced that the rash of deaths and missing people is connected to the house when he views the entire security video taken at Susan's office building. He watches as Kayako proceeds down the hall, then comes face to face with the camera as the video fuzzes out. Both the original and the remakes were directed by Takashi Shimizu. If you are planning to head out and watch The Grudge over the weekend, here are a few things you must know:.
The film's events take place at the same time as those of the film. The film, starring Sarah Michelle Gellar, included several subplots revolving around the Saeki family, the Williams family and Karen Davis, a care worker who had gone to the haunted house in search of a co-worker. The Grudge is about a curse that is born when someone dies in extreme rage or sorrow.
It is actually a Shinto ritual. Quotes Kayako Saeki : Croakkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk! Alternate versions The rated PG version is run 91 minutes, and unrated is run 98 minutes. User reviews Review. Top review. Just as good as the Japanese films but with an ending rant against remakes of foreign films. Karen Sarah Michelle Gellar , an exchange student in Japan who is just beginning to do some social work, is sent to aid an elderly semi-catatonic woman, Emma Grace Zabriskie , after her previous caretaker, Yoko Yoko Maki , disappears.
Karen soon learns that something is not right in Emma's home, and she attempts to "see how deep the rabbit hole goes". Maybe it's a delayed influence from the success of M. Night Shyamalan's films, but slower-paced, understated horror films are a recent trend. In some cases, such as Hide and Seek , the approach works remarkably well, and in others, such as White Noise , the pacing tends to kill the film.
I didn't like The Grudge quite as much as Hide and Seek, but this is still a very good film--it earns a 9 out of 10 from me. The Grudge has a couple significant differences from other recent examples of that trend, however. One, it is well known that this is a remake based on the Japanese film series that began with Ju-On in particular, it's extremely close to the first half of Ju-On: The Grudge, aka Ju-On 3, from Two, as with many Japanese horror films, the slower pacing here isn't so much in the realm of realist drama as with surrealism.
As is also the case with a large percentage of European horror, The Grudge should be looked at more as a filmed nightmare. Director Takashi Shimizu, also the director of the five Japanese entries in the Ju-On series to date the fifth is currently in production , and writer Stephen Susco have largely dispensed with linearity and are not overly concerned with logic or plot holes when it comes to the horror behind the story. The idea instead is to present a dreamlike sequence of scenes, with dream logic, where the focus is atmosphere, creepiness, the uncanny, and for many viewers--scares.
How well the film works for you will largely depend on how well you can adapt yourself to, or are used to, this different approach to film-making although admittedly, some of the seeming gaps are filled in by previous entries in the Ju-On series. Traditionally, American audiences consider as flaws leaving plot threads hanging and abandoning "rules" for the "monster".
A more poetic, metaphorical, surreal approach to film isn't yet accepted by the mainstream in the U. However, even if you're not used to it, it's worth trying to suspend your normal preconceptions about films and give The Grudge a shot. This is a well written, well directed, well acted film, filled with unusual properties, such as the story interweaving a large number of "main characters" which is done better here than the more episodic Ju-On 3 , good cinematography, subtle production design touches check out Gellar's clothes, which match the color and texture of the exterior of Emma's house, when Gellar first approaches , and beautifully effective horror material.
Even though it is more slowly paced that your average horror film of the past, the pacing usually enhances the eeriness, and there is no shortage of bizarre events to keep horror fans entertained. The supernatural premise of the film is absorbing, and based on interviews on the DVD with Shimizu, have prodded me to pay more attention to Japanese beliefs and folklore. Although the most interesting subtexts would probably arise with a more intimate knowledge of Japanese culture, it's interesting to ponder why so many Japanese horror films feature scary children and adults who look like scary children.
Now that I've said all of the above, let me finish with a mini-rant: It's not that I'm anti-remake, but it is ridiculous that U. The original versions of these films should just be playing in U. There is no need to present an almost identical film but just substituting white American actors for non-white or foreign actors. Yes, The Grudge is a fine film, but ultimately, I'd rather see something original using this talent, and be treated to the latest foreign horror films--not just Japanese, but also Indian, Spanish, Chinese, etc.
In the hope that someone with some pull at the studios reads this, it is also more cost-effective to do this, as 1 you can completely avoid production costs, and simply make domestic distribution deals from which you receive profit, and 2 you can make money off of fans like myself who otherwise pick up the foreign film DVDs in foreign manufactured or even bootleg versions.
BrandtSponseller Feb 4, FAQ What is 'The Grudge' about?
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