CIFF 2011: Kaidan Horror Classics

Japan horror is way out there. I think out of all the styles of Asian horror, Japan has tapped into making terrifying something that is based on realism, yet still making it way out of one's imagination so that we just want to hide from the potental terror it suggests. This program consisted of four teleplays, based on classic Japanese horror literature. These films had more of a dark, moody element rather than the shocking twists that we are used to.

The Arm tells the story of a man with a fetish for a woman's arm.  He is obsessed with its shape and beauty.  One night she comes to him and agrees to let him have it for the night, and detaches it. He spends time in his lonely room caressing the arm and speaking to it, until he is so enamored that he detaches is own arm and replaces it with the woman's arm. I think it was a mistake to start the program with this story, as its creepy premise seemed to turn some people off and several viewers walked out.  The other stories are more accessible so it would probably make sense to move this one further down in the program rather than having it as the introductory piece.

The Whistler. A young woman lies dying, while her sister, who cares for her, finds secret love letters. Both these women have longed for love but due to their situation, neither have had the love they hoped for. The sickly sister finally admits the truth about the letters, the well sister has seen her soldier lover off to war, a relationship her father disapproves of. This is more a story about unrequited love than real horror. Like the others though, it is heavy on mood.

The Nose tells the story of a hermit monk. Due to a hideous nose, he hides his face from the townsfolk. After an unsuccessful attempt to rescue a drowning boy, the monk feels guilty, which is further explained later in the story. While the town at first saw him as a pitiful monk, once they see his nose their superstition and hatred come forth. Although the monk is the "cause" of the drowning, it is hard not to sympathize with his treatment by the town and to understand his guilt.

The fourth story, The Days After, has a more straightforward plot. A couple receives visits from a boy they imagine and hope is the personification of their deceased son. They spend quality time with the boy, knowing he may leave at any moment. Their anguish is apparent, but after a time they realize they must let him go. This type of plot has been tried in other movies before. It just has a more Japanese sensibility here.

All the stories are slow moving, with an arthouse, low-budget feel to the stage direction and scenes. There is a minimum of dialogue, some choosing to supplement with first person narration or thoughts of the protagonist. I don't think this will turn anyone on to trying a Japanese horror film, but it may interest someone in picking up some Japanese horror stories instead.