The black arts of Ju on the curse revolve around a chilling and supernatural phenomenon that has captured the attention of horror enthusiasts around the world. Ju on, also known as "The Grudge," is a Japanese horror franchise that originated from a series of films directed by Takashi Shimizu. The curse depicted in these films is believed to be the result of extreme violence and hatred, which causes a powerful and vengeful spirit to haunt and kill anyone who comes into contact with it. At the core of the curse is the black arts, the dark and malevolent practices that fuel its supernatural power. These black arts are rooted in ancient Japanese folklore and are believed to be a form of witchcraft or spiritual manipulation. The curse is often triggered by a traumatic event, such as a murder or suicide, which creates an atmosphere of rage and despair that attracts the vengeful spirit.
Some of my confusion is no fault of the film and can be attributed to my ignorance of Japanese language and culture. Perhaps I would feel more at home with the film had I known the definition of “Ju-On;” or if I had the concept of the onryō engrained in my cultural psyche. But how does this “curse” play out? The film understates this, if it states it at all.
The first two films in the series were so-called V-Cinema, or direct-to-video releases, but became surprise hits as the result of favorable word of mouth. The result lacking pace, style or atmosphere, the concept strains against these limitations but the film is dependent on sub-par effects, poorly executed jump scares and screaming schoolgirls, the one moment when it should be truly horrifying failing to land because it is difficult to understand what is happening within the muddled timeline and the murk on screen, Ju-On The Curse ultimately cursed by the underwhelming circumstances of its creation and struggling to convey its message of rage from beyond the grave.
The curse is often triggered by a traumatic event, such as a murder or suicide, which creates an atmosphere of rage and despair that attracts the vengeful spirit. Once the curse takes hold, it spreads like a virus, infecting anyone who enters the haunted location or comes into contact with cursed objects. The curse is not bound by time or space, as it can pass from person to person and even linger in inanimate objects, waiting patiently to strike its next victim.
Ju-On: The Curse
There is a tradition of privacy in Japanese culture: what happens behind closed doors stays behind closed doors, but for teacher Shunsuke Kobayashi he is obligated by position to ascertain why a pupil has not been attending school, discovering in the school records that six-year-old Toshio is actually the son of a woman he and his wife Manami distantly knew at college, Kayako Kawamata, now Kayako Saeki.
Arriving at the Saeki household, the distraught Toshio is there, bruised, bloody and bandaged but uncommunicative, his parents missing and the house in disarray with rubbish strewn on the street outside, a desperate failing of the expected standards, yet instead of calling the police or child services, Kobayashi continues to investigate, hearing strange noises in the house, coming from upstairs in the loft.
Ju-on: The Curse (呪怨) written and directed by Takashi Shimizu, it was the film which launched the Ju-On franchise, though in fact there are two earlier short films which can be considered missing chapters of the seventy minute feature which is told in six parts named for the principal characters in each, Toshio, Yuki, Mizuho, Kanna, Kayako and Kyoko, with Katasumi (片隅; In a Corner) and 4444444444 covering the fates of the Murikami siblings who appear peripherally in the main film.
Now numbering thirteen films across different timelines and including remakes, the most recent simply titled The Grudge, and Sadako vs. Kayako crossover with the Ringu sequence of films, it is surprising that so much has come from such humble beginnings, a second viewing of Ju-on: The Curse making the tangled out-of-sequence events of the story clearer but the artistic and technical limitations of the film making such an undertaking feel something of a chore.
A straight-to-video production, the lighting is frustratingly poor, particularly in darkened interior scenes where the picture quality drops precipitously, and throughout the finished film the challenges of the low-budget shoot are apparent, each static camera angle lingering to allow the maximum coverage to be shot before grudgingly moving to the next, downtime for actors and crew between set ups kept to an efficient minimum but leaving little footage to work with in the editing room.
The result lacking pace, style or atmosphere, the concept strains against these limitations but the film is dependent on sub-par effects, poorly executed jump scares and screaming schoolgirls, the one moment when it should be truly horrifying failing to land because it is difficult to understand what is happening within the muddled timeline and the murk on screen, Ju-On: The Curse ultimately cursed by the underwhelming circumstances of its creation and struggling to convey its message of rage from beyond the grave.
An unknown amount of time has passed, and the house has new occupants. The family living there are the Murakami. Daughter Kanna is studying with Yuki, her tutor, when mother Noriko tells the girls that she will be out for a while. It is revealed that there is a cat or cats that prowl the area around their home, and Yuki is afraid of cats. She begins hearing strange noises, although Kanna doesn't notice. Kanna remembers she is late for feeding the school rabbits and quickly leaves the house, but not before embarrassing her brother Tsuyoshi about his new girlfriend Mizuho. Yuki is now left alone in Kanna's room. The noise Yuki hears is more pronounced, and thus she tries to distract herself by playing some music on her headphones, but her player skips. The noise seems to be coming from the attic, and she packs up her things and tries to leave. She opens the door and the hallway is now pitch-black.
The black arts of Ju on are characterized by eerie and ghostly phenomena, such as creaking doors, flickering lights, and creepy whispers. The curse also utilizes the power of the vengeful spirit, known as Kayako, who is often depicted with long, dark hair and a haunting gaze. Kayako's presence is accompanied by a distinctive death rattle, a sound believed to be an omen of impending doom. The victims of the curse are subjected to a relentless onslaught of terror and psychological torment. They may experience disturbing visions, be plagued by menacing apparitions, or even meet a gruesome and untimely demise. The curse leaves a lasting imprint on its victims, causing them to become vessels through which the curse can continue to spread. The black arts of Ju on are shrouded in mystery and darkness, drawing audiences into a world of paranormal horror. The curse serves as a cautionary tale, reminding us of the destructive power of hatred and the lingering consequences of violence. Through its chilling portrayal of supernatural vengeance, Ju on has become an iconic and terrifying addition to the horror genre..
Reviews for "The Supernatural Techniques in Ju-on: The Curse"
1. Sarah - 2/5 stars - The Black Arts of Ju-On: The Curse was a disappointment for me. I was expecting a thrilling and terrifying experience, but unfortunately, I found it to be quite underwhelming. The scares were predictable and lacked originality. It felt like a recycled version of previous horror movies, without bringing anything new to the table. The acting was decent, but the story fell flat and failed to engage me. Overall, I wouldn't recommend this film to those seeking a truly chilling experience.
2. Mark - 1/5 stars - The Black Arts of Ju-On: The Curse is one of the worst horror films I have ever seen. The storyline was confusing and poorly executed, leaving me feeling frustrated and disconnected throughout the movie. The scares were cheap and relied heavily on jump scares, which quickly became tiresome. The characters lacked depth and development, making it difficult to care about their fates. The film also had a slow pace, making it even more challenging to stay engaged. I would advise horror fans to skip this one and opt for a more well-crafted and original horror film instead.
3. Emily - 2/5 stars - I had high hopes for The Black Arts of Ju-On: The Curse, but unfortunately, it failed to live up to my expectations. The storyline had potential, but it was poorly executed with inconsistent pacing. The scares were formulaic, and I found myself predicting each jump scare before it even happened. The film lacked the atmospheric tension that makes a good horror movie truly terrifying. While the cinematography and special effects were decent, they couldn't make up for the film's overall lackluster delivery. Overall, I was left unimpressed and would not recommend this film to horror enthusiasts looking for a truly frightening experience.