I don't know what trunk I dug this up out of!!
Shutter is pretty capable movie making. Don't believe the (negative) hype.
Of
course, even before entering the theater, I knew that going to check out the
latest J-horror film Shutter would involve putting up with
fifty 10-14 year old shrieking out fake screams of terror, making snide
comments at the screen loud enough for everybody in the theater to hear, and
texting and talking on their cell phones throughout the picture. This is just
an extension of school, or the mall, or a friend's basement. The idea that the
cinema could be a place housing art as important as any museum doesn't occur to
kids this age. Of course, it doesn't occur to most adults either, and in
combing through about twenty online reviews of this film I see it doesn't even
occur to many people who are paid to write about the movies for a living. Too
bad; if most films are given a chance they certainly repay the effort. Shutter definitely does.
The film
begins with the wedding reception of a young American fashion photographer, Ben
(Joshua Jackson) and Jane (Rachel Taylor). The shallowness of Ben's personality
is telegraphed immediately, the very first time he speaks - he tells the
wedding guests, “Thanks for coming, let's all eat some cake." His
character flaws are the linchpin on which the whole picture hangs, so this is
important. Immediately after the wedding and consummation the couple whisks off
to Japan ,
where Ben has a gig, for a combination of work and honeymoon. While driving on
an isolated country road at night Jane hits a young woman, but no trace of her
can be found afterwards, even by police search teams. In due course a strange
white streak of light starts showing up in Ben's photographs. His assistant
suggests this looks like 'spirit photography' in which the spirits of the dead
show up in photos, usually looking for revenge. As it happens, the assistant's
ex boyfriend runs a well known Japanese magazine devoted exclusively to this
subject. When Ben and Jane visit him he says the spirits that show up in these
photos often do so because of ‘unrequited love', which will eventually turn out
to be the case here. The mysterious girl whom they hit on the road is Megumi, a
translator with whom Ben had an affair on an earlier assignment in Japan . He just
wanted a fling, but she was looking for much more, and when he dumped her she started
stalking him. Ben's friends Bruno and Adam - American expatriates who live in Japan
- got involved. It all ended very tragically, and now her ghost is back for
revenge.
Although this is allegedly a 'horror' film, that is
a superficial classification. There really isn't a single truly scary moment in
the entire picture. My personal opinion is that it is no longer possible for
any film - not just this one - to scare audiences in the way that, say, Psycho could
when it was a new type of cinematic experience. So in order to have our
cinematic hunger gratified we have to look for other things.
I've
always felt that the existing body of films from the past can provide us with a
way to participate actively in a new film, and that is either through obvious
direct visual quoting or through a scene that at least awakens a memory in us
of a prior film, even if this is not the director's actual intention. One
example in Shutter : the characters see images in
photographs of things that were not physically present in the time and place of
the photograph. This immediately conjures up the scenes in The Omen where the exact same
phenomenon prophetically occurred. And, of course, the truth and/or falsity of
what a camera can capture has been a cinematic preoccupation since Blow Up. And an image that Kubrick played with
in The Shining - that of a woman who appears
to be sexy and beautiful from the front but who is revealed in actuality to be
a decomposing corpse when we see her from the back - shows up here as well. And
these are just three examples that I caught in just one viewing, in a theater
with sixty screaming kids around me throwing popcorn. And I don't think it
really matters very much if the director (Masayuki Ochiai) has the specific
intention of quoting or referring in this manner, or not. If he does, fine; if
he doesn't, it speaks to the power of the images in their own right and for
their own sake. And it jostles the viewer's imagination into making connections
for itself. We hate to dabble in cliches, but as directed by Ochiai and
photographed by Katsumi Yanagishima the poetry of the images is breathtaking.
Aerial views of both New York and Tokyo are outstanding (and the natural beauty of Mount Fuji too). The visual style is very cool, very
steely and detached, very ice blue in tone. I mentioned Blow Up earlier, and I think the way
the hipness of 1960s London was portrayed there is a very definite influence
on the way a sort of international, boundary less hipness of today - personified
by the sensational Maya Hazen in female mode and by the near brilliant James
Kyson Lee in the masculine example - is done here. Ochiai, like Michael Mann,
has the gift of being able to speak volumes of exposition without dialogue. As
an example, Jane's jealous nature is communicated twice by facial expressions,
reactions she makes to how Japanese women approach Ben, with crystal clear
clarity without a single word being spoken.
This
film is really about things like, How much should you know about your spouse's
background? What is the nature of stalking? Of taking justice into your own
hands? And finally it's about the blending of cultures into a true kind of
internationalism. Again, a lot of this is visual. The Tokyo skyline could just as easily be the
skyline of an American city. The young Japanese professionals throughout all speak English and dress like Americans, just as Ben
and his friends move easily and fluently through the Japanese language and
customs. Not overtly political at all,
but definitely functioning in a manner as to indicate we're all going to be
moving deeper and deeper into Global Village mode as the twenty first century
advances.
Shutter is pretty capable movie making. Don't believe the (negative) hype.
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