| DARK
WATER Rating:  Director: Hideo Nakata Producer: Taka Ichise Writers: Yoshihiro Nakamura, Ken-ichi Suzuki, based on the book by Koji Suzuki Director of Photography: Junichiro Hayashi Cast: Hitomi Kuroki, Rio Kanna, Mireri Oguchi, Asami Mizukawa Visit the IMDB page for full cast and crew |
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Review by: Warren
Curry
11/10/02
Just to get it out in the open, I'm not a big fan of horror movies. Let's face it, inevitably the narrative in a horror film can only be propelled forward because of one (or more) character's affinity for acting completely idiotic. Sure, some horror flicks are able to create such an otherworldly atmosphere or juice up the shock factor to a level where one can overlook certain deficiencies in story or character. But for every Frailty there seems to be 20 Feardotcoms (o.k., so maybe I haven't seen Feardotcom, but humor me here), and I've reached the point where the "horror" genre may as well be the "must avoid" genre.
So what the heck was I doing standing in line amongst a throng of rabid AFI Film Festival-goers who were eagerly awaiting the screening of Hideo Nakata's latest shocker, Dark Water? Nakata, known to most as the director responsible for the original The Ring (the remake is playing at a theater near you), has generated quite a fan base on this side of the world and being as prone to hype as the next person, I couldn't pass up an early opportunity to catch his newest work. Ultimately, Dark Water didn't scare or disturb me, but I was impressed by Nakata's ability to let a story build and also his talent for making the plight of his characters connect on an emotional level. I came in expecting to be left "on the edge of my seat begging for mercy," (thanks Sam Raimi) but actually found myself sincerely moved in spots by the somber aspects of this movie.
Yoshimi, the recently divorced mother of Japan's most adorable five-year-old girl, Ikuko, has moved with her daughter into a rundown apartment complex. The new living quarters wouldn't be so bad, but the family's apartment has a water stain on the ceiling, which won't cease dripping. A few issues intensify the problem -- the fact that it rains every day is one, and the apartment manager's refusal to lift a finger to stop the leak is another. And there's also the matter of the ghost of a missing schoolgirl popping up everywhere. That's enough to ruin anyone's day.
There's a distinct humanistic quality to this film, and that's what I responded to the most. The trials of the relationship between mother and daughter are engrossing and grow to be almost heartbreaking. Nakata's construction of the story focuses on mood, and the film's deliberate pace casts an ominous spell around the proceedings. Visually, Nakata mainly stays within a realistic framework, which heightens the sensory experience of some of the more apocalyptic images. The scene where Yoshimi checks to see the cause of the smattering of footsteps on her ceiling and finds the apartment above her flooded by water pouring from every outlet is awe-inspiring (and there's water aplenty in this movie).
Going back to an earlier point, this film (like most of its ilk) couldn't have existed had it not been for the ludicrous (non) actions of Yoshimi. Granted, my b.s. detector was on high alert, but I don't think I could ever buy this woman's passivity when it came to idly accepting the apartment manager's lack of effort in fixing her roof. Her character was drawn as a sane, competent woman and nurturing, caring mother, who I highly doubt would've acted so ineptly.
There are only a few intentionally jump-out-your-seat
moments, so some horror fans may be disappointed by this film's
predilection to haunt on a psychological level. Only movies that
ground themselves in more realistic territory have such an affect
on me, and Dark Water doesn't fit that bill (nor was it
trying to). Nevertheless, it's an intelligently told tale, and
for the most part I can see why Nakata has earned such an enthusiastic
following. I may not be his target audience, but you needn't be
a horror fan to recognize the filmmaking gifts the director displays
in Dark Water.
(Screened at the 2002 AFI Film Festival)
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