I recently watched three grudge series, and found that each of them is similar: the techniques for creating Japanese-style horror are similar, and Gamako, as a grudge, can kill anyone anytime, anywhere. First of all, this series has grasped the oriental artistic expression of blank space: many particularly scary scenes flashed by, for example, a woman was shocked when she saw the resentful Junxiong, and the shot of Junxiong’s brother here is a flash (I thought it was a bag of flour at the time?); for example, in the last shot of Kobayashi's death, his eyes widened and he looked extremely frightened, but the way he died was left to the audience's imagination. Compared with the bloodier scenes of Western horror films, this method can actually stimulate people's inner demons, and make people tremble with this kind of shadow for a long time, because people's imagination is infinite (wonder?). Secondly, the makeup of Toshio and Gaya can be seen that the movie is influenced by the Japanese ghost characteristics. I feel that the ghost characteristics are very similar to the underworld atmosphere of the opening ceremony of the Tokyo Olympics, that is, the face is painted like a kabuki, and the face is pale and bloodless. Personally think Junxiong has the feeling of a white-skinned Avatar, in short, the sense of substitution is not particularly strong? Thirdly, although Sister Jia’s house is just an ordinary single-family villa from the outside, the internal structure is particularly dark and deep, and there is a gothic sense of death. Gothic, the latter is mostly set in the background of medieval castles and mansions, while the former is closer to daily life: resentment will appear at the corner of the stairs, in the cabinet, on the ceiling, in the bathroom, in the KTV, and even in the bed... ...This kind of terrifying daily life makes people feel that the fate of being entangled by Sister Jia cannot be escaped, which is one of the reasons why this series makes people feel that they have a lot of stamina. In the end, the film director used a variety of voices very cleverly, and the combination of audio and visual made many parts of the film particularly outstanding, and the sense of horror made people shudder behind their backs. For example, sister Gaya was tortured and killed by her husband Gangxiong, who thought her head was green, and the beast Gangxiong twisted her neck, so before Gaya appeared, there would always be an eeee sound in her throat; and the floor creaking The sound of her and the meowing of her son Junxiong all indicated that Sister Jia was coming. It can be said that without any of these items, there is no Japanese-style horror. For example, if you turn off the sound and just look at the picture, the horror effect will be halved? This movie feels like the director's skills are good. The few interludes in the film are actually not enough to understand Gaya. The film focuses on showing the tragic death of each innocent victim after being haunted by resentful spirits, but the portrayal of Sister Jia and her son Junxiong is not full. If you really want to understand the experience of these two resentful spirits, you have to read some original fragments. A lot of psychological descriptions can let everyone know more about the real Gaya and Junxiong. Understanding and sympathizing with their experiences is not the heart of the Virgin, let alone indifference to the victims in the movie, but reflecting on something. This is the social value of a good movie. A good horror suspense movie is never scary for the sake of horror. Jia Ye has a tragic background and a withdrawn personality, and everyone avoids her at school. She fell in love with Junsuke Kobayashi, a good-looking classmate, but she was only immersed in the crazy fantasy of unrequited love. Every day, she wrote down everything about Kobayashi in her notebook, and there were many other psychopathic slapsticks not to mention? In short, he has been torturing himself from beginning to end, and the other party doesn't know anything. Sister Jia's obsession with Xiaolin for many years finally killed Xiaolin's wife and daughter, who died under the sword of Goong. Xiaolin was finally taken away by Sister Jia. This Gangxiong is also a real dog. Without reliable evidence, he concluded that Sister Jia cheated on her son's teacher, Xiaolin, and concluded that Junxiong was not his own, and then started a series of passionate crimes. This Gangxiong was born with violent genes and had a dark heart. There is no love, trust and responsibility in cognition at all. If it is said that the genes come from the original family and cannot be changed, then the ability of people to control the right and wrong of behavior can be forged by themselves. However, the perpetrators represented by Gangxiong obviously lack this self-discipline. When the external environment is stimulated, they are emotionally overwhelmed, but they let it go. People who carry violent genes suddenly become criminals? This leads to tragedy. Looking at Gaya again, if she hadn't been killed by her husband, her life might have been fine, at least calm. But in fact, looking at the way she gets along with Goo will reveal a lot of problems. When they first met, Gangxiong saw Gaya at a glance, and thought she was cute, pretty, and controlled, and didn't feel much emotional; Gaya just felt that she was "needed" in this relationship, and had no other feelings. That is to say, there is not much feeling of "soul bond" in their relationship (maybe it is the sympathy of people with similar temperament), and they got married in a confused way. After their marriage, their relationship was not much warm, and Gaya was like a submissive tool man, being called back and forth by Gangxiong. I feel that Sister Jia just hopes to get some self-redemption from this relationship, so that she who has been isolated for many years can also feel the feeling of being needed, but this need is not the need of true love, but the need of the manipulator pua. Moreover, a truly benign relationship is never one person pulling each other, just like pulling the last straw, letting others be their saviors. This determines that their relationship cannot end well. In addition, I think that the status of Gaya here is low. It is not a fight for women's boxing, nor is it a provocative gender confrontation that is often said in online comments. If you think about it, you know that male or female is just a person's social gender. As any one of them, he will be treated unfairly, and a male will also be treated unfairly in the male group. Therefore, discussing this kind of problem can not be solved simply by "feminist rights". If the vision is enlarged, in fact, "equal rights" should be advocated. I think Sister Jia, who has become a ghost, is more like an anti-social serial murderer. Personally, I feel that they have some psychopaths in their daily lives. Maybe they can get along more peacefully with the people around them, but if they have murderous intentions, it is true It will kill people with high IQ, and will anger the innocent, and it is difficult to be caught. What is even more terrifying about Gaya is that she is not bound by the law and will commit crimes anytime, anywhere. The ending of The Grudge 2 is actually a bit warm. The mother played by Noriko Sakai was pushed off the flyover by her biological daughter (the reincarnation of Gamako's grudge), and there is no fear in the mother's eyes, only full of love, even if the child is born violent , as a mother will love her and protect her. At this moment, a trace of tenderness flashed across the eyes of the little girl Gaya, and she disappeared into the distance. Whether resentment will be influenced by love is an open ending. Whether stubborn resentment can be influenced by morality is very complicated. The problem is too grand, and everyone has different opinions. In addition to the ideas above, what I think of is how to choose a good relationship, how to avoid lightning, how to prevent people, recognize people and break things, and how not to be rhythmized by others. Most of us actually believe in materialism. Snakes, gods, and ghosts are all in our hearts, and the lingering things are often the devils in our hearts. Reflecting on the human nature they insinuate from the hideous face of the movie, whether it is hideous or a trace of kindness, is the preciousness of horror films.
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