Customer Reviews

Seance

5 star:		(4)
4 star:		(4)
3 star:		(5)
2 star:		(0)
1 star:		(1)

 

 

Ever since Hideo Nakata's Ringu achieved international acclaim, Japanese film companies have pushed hard to capitalize on that film's success. While much of this effort has, admittedly, produced other high-quality and interesting horror films, even the worthwhile efforts tend to follow set formulaic schemes. Many Japanese directors get so caught up in sleekly packaging mere repeats of previous scare scenes that they forget to experiment or even create a coherent world or story for the horror to occupy. Kiyoshi Kurosawa, however, constantly puts a new spin on the genre. From Cure to Charisma, Kairo to Doppleganger, horror's role in Kurosawa's films is always changing. The ways in which he experiments makes even his weaker efforts, as SEANCE regrettably shows itself to be, required viewing for film enthusiasts.

The film is most interesting in its first half, which is more marital drama than supernatural thriller. Junko Sato (Jun Fubuki) is a medium who, between the seances she performs, works with graduate student Hayakawa (Tsuyoshi Kusanagi) on a study chronically the potential for mediums to help the police in solving serious crimes. Junko's husband, Katsuhiko (Koji Yakusho), is a sound engineer on the way up, having recently finished his first major television project. Unfortunately for him, he leaves a large case unlocked as he records audio near Mount Fuji, and a young kidnapped girl, fleeing from her captor, picks it as a safe hiding place. Without noticing, he locks the case and takes it home with him; the poor girl remains locked inside until Junko, looking into the same kidnapping case at Hayakawa's behest, feels the girl's presence and discovers her unconscious body. She is not yet dead, though this is perhaps unlucky, and Junko leaps at this opportunity to prove, through a hoax, that her abilities are real and useful. The plan seems to work just fine, until the girl mysteriously turns up dead and her ghost begins to haunt the Satos.

What could have been quite an ordinary horror film, or, like the original, a fairly by-the-numbers thriller, under the control of many other directors is made truly interesting with Kiyoshi Kurosawa at the helm. Kurosawa's stated love for American films from the middle of the century is apparent throughout: the characters' lives beat at the slower pace pervading older American films, and the camerawork, pacing, and music suggest other elements of those films. And towards the end of the first hour, when things start to go downhill for our protagonists, Kurosawa creates a fantastically foreboding atmosphere. Things left off-screen are crucial parts of scenes, and somehow Kurosawa keeps their presence etched in our minds. When these elements start to disappear, replaced by an jarringly quicker pace, unconvincing special effects, and a drastic change in the film's focus, SEANCE begins to misfire. The plot is thrown to the wind (at a couple of occasions, it is as if in the world of the film fingerprinting does not exist), and any cohesiveness in characters, too, disappears. Despite all of these problems, Kurosawa keeps his audience glued to the screen and appeals so strongly to base instinct that these intellectual qualms, which seem so obvious in hindsight, must be almost searched for in context.

Only Jun Fubuki gives a performance as believable and multi-faceted as is to be found in most of Kurosawa's other work. This is no fault of the other actors, though, but seems to be inherent in the script. Koji Yakusho's character is, for most of the film, merely a plot device to help demonstrate and develop his wife's character. It is when the film's focus suddenly shifts to him that things begin to feel awkward, though this, also, is none of his fault. Yakusho has a brilliant way of making adrenaline and violence seem natural and almost warranted, and the rare scene where he physically beats the phantom haunting he and his wife could only be pulled of believably by Yakusho. The rest of the cast, including Ren Osugi and Sho Aikawa in brief cameos, all have simple, plot-advancing roles to play and do them well enough, it's just a pity that none of them were given any real opportunities to develop fleshed-out characters.

For the first hour or so, SEANCE is among Kurosawa's most engaging and interestingly approached films. That the second half is so disjointed (not in the deliberate, helpful way of some of Kurosawa's other films like Doppelganger) is therefore more disappointing than if the whole film had been simply mediocre. Still, for a film made within the confines of a made-for-television horror outing, SEANCE is an impressive show of Kurosawa's creativity and talent.

In the city, a little girl is coaxed from a playground and into a waiting automobile of a stranger who has his sights set on a large ransom payoff. Koji Yakusho (Doppleganger, Cure & Kairo) stars as Sato, a humble sound technician who, on a trip to the country to get some "wind sounds" on tape for a coworker, unknowingly becomes involved in the kidnapping. When the police are at a loss for leads in the case, Hayasaka, a psychology/paranormal studies student, takes the initiative to call on Sato's wife Junco (Jun Fubuki), a "medium" with whom Hayasaka has been working with to support his theories, to pour over some of the little girl's personal effects in order to locate her. When she fails to provide help, she allows herself time to re-examine her abilities and to take a respite from her homemaker status by taking a position at a local eatery. Junco begins to have morbid visions on the job, without her usual "paranormal preparations" and decides that her newer, more sensitive abilities are too much to handle at her job. Later that day, back at home, Junco and Sato find suddenly find themselves even further involved.


Kiyoshi Kurosawa's Kourei is loosely based on the tense, gloomy but brilliant film Seance on a Wet Afternoon (1964). Both are based on a Mark McShane novel by the same name. It's remade with a slower, tenser, more methodical manner, which Kurosawa has nearly perfected. We only have to look as far as his masterpieces, Kiaro & Kyua (Cure), to witness a Kurosawa film's natural evolution into a fully realized, and cohesive body of work. Not known for artificially pumping up his films to create mood or action, he's remained true to his style and allowed the movie to progress on it's own accord. That patience may be to Seance's detriment.


I'm afraid Kurosawa's vision in this instance isn't as good as I'd hoped. There are tense, frightening moments, there's no question. The direction is great. There's a scene in the Sato home where Kurosawa uses multiple layers of light and darkness in varying degrees, and among the different doorways and halls to signal an spine-tingling little scene, that borders on, not only directorial, but film greatness. But I think the complete story itself, as far as staying faithful to the original story goes, wasn't quite brought to fruition. Some essential, relevant action and substance has been replaced with Japanese elements that, quite frankly detract from the story. But it was made for Japanese audiences, just like Sarah Michelle Gellar's "Grudge" remake was made for American audiences. There's even one very weird, Doppleganger-esque scene, which I really didn't get at all. It just didn't seem to fit.


I can certainly appreciate a good remake. Everyone should take them for what they are; homages to the originals (in most cases). Kurosawa's direction is reason enough to see Seance. As a compare/ contrast piece against Seance on a Wet Afternoon, it might make an interesting double feature. For the Asian Horror novice, this is as good a place as most to cut your teeth in the genre.

Seance is a fairly good, entertaining movie-but for some reason it lacks any sense of suspense-despite the interesting premise--a kidnapped child is found by a couple who at least think the wife is a genuine psychic--and they then plot to prove her psychic abilities--by providing information they've either planted or know about the child. Their "finding" the child is a real weak part of the film--unless one assumes a child can hide in a trunk and an adult wouldn't notice the extra weight when lifting it. All in all- a decent movie worth watching--but there are better movies available besides the well known "Ju-On" and/or "Ringu"--such as "Chaos" or "Cure" However, if you're a big fan of Asian "horror"--you'll probably want to add this to your collection!

Séance (Kiyoshi Kurosawa, 2000)

Séance on a Wet Afternoon is one of those staid British suspense pictures that pretty much everyone over thirty has caught at least parts of, either on video, in revivals, or flipping through TV channels on a Saturday afternoon. At this point, it's less a movie than it is a cultural institution. Still, it would probably not be entirely accurate to say that Kiyoshi Kurosawa here takes on Bryan Forbes (Kurosawa himself says in the DVD extras he'd never seen the original adaptation when he was presented with the idea, and only read the book after accepting the commission to do the film). It would probably also not be entirely accurate to say that in such a hypothetical battle, Kurosawa wiped the mat with Forbes.

Koji Yakusho and Jun Fubuki, both of whom previously worked with Kurosawa on Charisma, here play Sato and his wife Junko, taking the roles of Richard Attenborough and Kim Stanley in the original film. I have not read the book, and thus cannot say which version is more faithful to it here, but the fact that these two characters (and that of the hapless victim) exist is the final similarity between the two films, save for the climactic final scene from which it derives its name. Yes, the main plot point is the same: Junko is a psychic who becomes involved in the hunt for a missing girl. One of the two adapters of Mark McShane's book, however, decided to play a bit of "what if...?" with the mechanism of the girl's disappearance, however. The 1964 film presents us Bill/Sato and Myra/Junko as morally two-dimensional at the beginning; there are bad things afoot, and we know where everyone stands. The 2000 film injects another character into the early events and thereby completely changes the moral tenor of the characters; Sato winds up where he is by misadventure rather than by any moral deficiency of his own. We're already on firmer (or slipprier, as it were) ground than we were in 1964 when it comes to making a good movie; Kurosawa then goes on to make the original cop thriller into a flat-out ghost story, something at which Kurosawa excels (viz. the estimable Cure); add in a couple of cameos from the everpresent Ren Osugi (Audition) and Sho Aikawa (Ley Lines) and you've got yourself a pure-D Japanese delight. Could it have been a better movie? Yeah, probably. But is it a good movie as it stands? Definitely. *** ½

Séance is a film that is slow and surreal in its best moment. The story is simple; a wife wants to be famous as a medium to be an equal contributor to the family income. The husband agrees because he loves his wife and wants her to be happy. Everything else happens because of chance and in some cases stupidity. These moments of blatant neglect fill this film with terror as I sat watching thinking to myself "what? Really you're going to do that. Really?"

What makes this film so powerful isn't how evil the main characters are or smart or daring, it's their simplicity. They are a normal couple in Japan living out their marriage as any other couple. They don't have any reason to get involved in the kidnapping of the girl and if fate didn't play them into the fold of the kidnapping they'd never have the choices that had to make. But, fate did give them a girl and an opportunity to exploit the situation. And what is scary to me, is the reasoning the characters take is understandable. Yes, not the choice I'd like to think I'd make but, a choice that allows the character to processed with the rest of the film. It's their inabilities to see the situation from any other point then their own selfish reasoning that lets this film become a horror movie.

This film has ghost in it, a good few, but none are as scary as what the humans do. The ghost play a much simpler role, they are the reminder of peoples past. The things they've done to others. In the end the ghost are not the bad guys that go boo. But, the choices the people make to save themselves is what is left with you when the credits roll.

Kiyoshi Kurosawa the director of this film knows his stuff. Filling the movie with moments of surrealism that simply don't make any since. Not in the strictest way, but the feeling from the scene are so filled with dread from this confusion that the scene complete the films atmosphere. Not subtracting from it. As with most film from Asia, it is common to be asked simple to allow things to happen and not try to rationalize the action into logical explanation. With this in mind Séance is a truly scary film. If you're looking for a slow Japanese scary movie this is a winner without any doubt. A truly powerful horror movie.

"Seance," by director Kiyoshi Kurosawa, is a slow and heavily nuanced thriller that is not for everyone. Every film I view of this great director makes me anticipate his next film even more. He is not only a talented director, but he has a style all his own. From his outstanding thriller "Cure," to his enigmatic film "Charisma," Kurosawa gives the viewer another film worthy enough to add to ones cinema collection. And although this film is not in the same league as "Cure" this one is no slouch by any stretch of the imagination. "Seance" stars Kurosawa regular Koji Yakusho as a sound technician named Katsuhiko Sato. The film is a little slow paced, and may seem to lack cohesion in some places, but Kurosawa is noted for his showing not telling. He allows the viewer to figure out his narratives, and many times his films are very ambiguous But if you pay close attention to the small details, you will be pleasantly surprised. Or in some cases, a bit disturbed and shaken. His films are not the typical gore fest like American films. They are intelligent.

As the films narrative begins, what you have is a drama which will eventually turn into a supernatural thriller. Sato's wife, Junko Sato (Jun Fubuki) is a spiritual medium who performs Seance's. In addition to this, she is also working with a graduate student named Hayakawa (Tsuyoshi Kusangi) who is attempting to explore the possibility of mediums assisting psychologists. Hayakawa has written a thesis on the use of mediums, and as a psychologist, he wants to explore other avenues to psychological study. This is turned down by the department head however, as being too far off the wall in regular research. Still Hayakawa firmly believes in Junko's abilities as a medium. Moreover, there are some subtle to not so subtle areas in the film which point out Junko's spiritual abilities as a medium.

Junko's husband Katsuhiko (Koji Yakusho) is a sound engineer. When one of his co-workers needs to have the sound of trees blowing in the wind, Katsuhiko takes his recording equipment near Mt. Fuji, to get some good sound effects. Also, with him is a large sound case he happens to leave open when he is recording the sound of the trees, and it is here that the film will veer the viewer into an ominous chapter in Katsuhiko's life: For there is another narrative going on at the same time dealing with a recently kidnapped girl. Something occurs in the woods which will later have a profound impact on Katsuhiko and his wife. I really liked the way that Kurosawa gives the viewer the scenery of the surrounding areas where his films take place. There is an aesthetic beauty that tends to lend itself to the film. Not only with the outdoor scenes, but indoors as well. Especially the old buildings he uses in his films.

When an opportunity occurs, which may lend credence to the wifes psychic abilities, proving her powers to others, both of them devise a plan they believe will make her famous. However, there is much tragedy that lies in store for this couple, and especially for Katsuhiko. When tragedy does occur concerning this husband and wife, we see them both trying to deceive the police in order to give credence to the wifes claims of spiritual prowess.

This film has all the elements I like in a horror or psychological thriller. The suggestion of terror, and the nuance of horror. Moreover, the acting by everyone is first-rate. Katsuhiko and Junko are terrific in their respective roles. In fact, it is the acting performances that both these actors give which make this such a great and believable film. We see the hell that Katsuhiko is now going through due to his interaction with a spirit. Or is it a spirit? Is this his conscience weighing on him as he struggles to come to terms with a tragedy? Not only that, but you can sense his guilt at has recently transpired in his life. There are some great scenes and dialogs in the film when Katsuhiko asks a Shinto priest to cleanse the house of unclean spirits. The priest, played by Sho Aikawa [a regular of Takashi Miike's films], has some very profound interactions with Katsuhiko. The dialogs between the two inside the house, and outside was terrific. And although I really did not pay much attention to this the first time I viewed the film, it really packs a powerful punch when one later contemplates on this interaction. Especially when Katsuhiko asks the Shinto priest if he believes there is a hell. I recommend this film highly. Especially those tired of stale American horror films and thrillers. [Stars: 4.5]

*
[[NOTE: This is a review of the movie itself, based on a Korean edition "Region-3" DVD, and thus does not include any specific information or details regarding the quality of the US/Canada "Region-1" disc.]]


As the official "description" states, "SEANCE" (Japanese title: "KOUREI," aka "KOREI") is based on a 1961 novel & subsequent movie about a kidnapped child whose situation is exploited by a married couple to promote the wife's claim of being a powerful psychic.

There are several departures & reinterpretations the Japanese filmmakers made with the source materials.


IN THE ORIGINAL VERSION :

> The 'psychic' wife is assumed to be either self-deluded or, at worst, a charlatan -

> Her husband is a ''Kitty-Lashed'' weakling -

> Hubby was active & willful in his wife's plot -

> Hubby actually arranged for the kidnapping of the child in question.


IN THE JAPANESE VERSION :

> The wife actually does possess some psychic abilities -

> The husband is not so much "Kitty-Lashed" as he is weak-willed & easily manipulated by the guilt-trips his wife puts him through -

> The child had been kidnapped by someone else, but had escaped her captor and came to be in the husband's possession when she "hid" among his work equipment (how Mr. Genius could not have known immediately that something was not kosher with his work equipment before reloading everything into his van, or did not bother to inspect anything after his return home, requires a tremendous amount of "suspended logic," but, hey, they had to move the story along some kind of way.....) -

> Upon (finally) discovering the girl's body among their things, the wife begins to devise her plan, but Hubby tries to dissuade her from her sick plot, but ultimately he plays along (refer back to the 'guilt-trip' reference above).


Directed by Kurosawa Kiyoshi, it features Yakusho Kohji (who also worked with the director in other notable films as "CURE," "CHARISMA," "KAIRO" and "DOPPELGANGER") and Fubuki Jun (who likewise worked together with the two of them in the films "CHARISMA" and "KAIRO").

Many may find difficulty in watching it and not noticing its numerous technical flaws, as it was originally a "made-for-television" presentation and shot on video (yes, "full screen format" alert!). But if one doesn't mind the look & feel of the film, it's a quite enjoyable peek into the project which helped propel Kurosawa Kiyoshi into the international spotlight.

Kurosawa's films are quite wonderful, and Seance comes close to that level. A mood of quiet and eerie tension is created and sustained throughout the film. The cast is superb, as is the deliberately slow pacing and the underplayed horror. Unfortunately, the film is seriously marred by a plot point which occurs near the halfway mark. Lacking any dramatic or common sense, this choice drives, but completely fails to justify, the last act of the movie. I do not know if the film's written source follows the same construction, but what's here is severely damaged by the couple's decision(s) about how to deal with the crisis. It's too bad because Seance would have been a much stronger entry.

Kiyoshi Kurosawa loves to shift the ground from beneath the viewer's feet. When you think you are watching a horror movie, it turns into a comedy. When you think you are watching a thriller, it turns into a horror movie, as it does here. Nominally a remake of "Seance on a wet afternoon," which is also a great movie, this is in some ways classic Japanese tragedy as only Kurosawa can interpret it. I would not use the word "enjoy" in watching this movie, but rather the phrase, "it was quite an experience." You must love Japanese and other Asian movies to appreciate it -- to Westerners it may be contrary to all logic why these characters take such ill-advised steps, but a sort of Fate that propels people to doom often populates Japanese cinema. Also we in the West are used to spirits that are forgiving or even humorous, but you would be hard-pressed to find this happening in Japanese or Korean films. Spirits are usually relentless in seeking revenge or can even be responsible for mass doom, as in The Ring and Ju-on films. If you like this you may also like Retribution, Pulse, Charima, and Cure. As a side note, be sure to see Kiyoshi Kurosawa's take on Val Lewton in the documentary "Val Lewton: Man in the shadows." You can get a feel for both his appreciation of horror cinema as well as a feeling that he has a good sense of humor. Of note he has been steadily moving away from horror (movies like Doppelganger seem to disavow the genre) which has brought him to his latest film Tokoyo Sonata which is not at all horror (or is it?). However as recently as 2006 his Retribution (Sakebi) certainly fills the bill for a shot of old time Kiyoshi hair-raising entertainment. I highly recommend this film.

Yeah, just another fantastic Japanese horror movie! It's VERY good! It has a very good plot, very good characters (played by very good actors), some pretty damn creepy bits and it's quite sad! It's kinda slow and it's not very scary (compared to the well known Asian ghost movies), but just because a horror movie is slow and not very scary doesn't mean that it's bad. Slow doesn't equal bad unless you're an impatient person who needs action and over-the-top scares every 5 minutes. Seriously, the only people that could find this movie bad are impatient teenagers who need action and over-the-top scares every 5 minutes. If you're an open minded person who loves well made horror movies, you'll probably like this movie a lot!

I love Japan!