GHOST

One resilient costumer, the ghost story has disappointed its many detractors and critics, all of whom claimed that this particularly subtle form of cultural art had seen the end of its effectiveness with the coming of electric light. Yet despite its demise being heralded over a century or more ago, ghosts and stories about them, most particularly in cinema, are, um, alive and well. The age of the computer modem and I-pod is here, and still revenants from the other side of the grave continue to enthral and terror. Perhaps now more than ever supernatural film is needed, providing us the aesthetic escape of popular entertainment as it exorcizes (or at the very least helps us face) both our individual and cultural fears of death and the unknown. Significant as both a respected art form and medium for catharsis, the ghost story has never been more influential or intimately appealing as it was in the cinema of the 1990s. That decade saw the unprecedented popularity of Asian horror with Ringu and its slew of imitators, and it is to that particularly meaningful and malevolent species that this review turns its interest. Ghost, the newest fright feast from Tartan Asia Extreme, illustrates the endurance and emotional strength of the occult tale. While lacklustre American remakes of Asian hits and a regrettable cannibalism of theme has admittedly drained some of the immediate effectiveness from the genre, Ghost is an example of spiritual terror filmed right. Intelligent and shocking, this deeply layered wedding of sensation and psychosis is expertly crafted and emotionally scathing.

Like an old family spectre refusing to be laid, the ghost story offers a handful of key archetypes upon which to build new variations, ranging from ancestral curses and murderous misdeeds to unwary innocents simply haunted because of bad luck. Complex or simplistic, literary or clipped from oral folklore tradition, the test of a successful ghost story is how such elements are fleshed out. Ghost features an energetic, precocious young student Ji-won who is haunted by circumstance and secrets from her malignant and mysterious past. Unsure of who she is or was, or what to do with her life now, she also struggles to recall friends and environments from her past. But nothing prior to the accident that took her memories resurfaces. When people she learns were once her friends began to die under horribly violent and mysterious circumstances, she's forced to investigate deeper into both her past and the disappearance of a girl with whom she had a love/hate relationship as she climbed higher up the social status ladder. With the help of a withdrawn boyfriend and self-obsessed mother, Ji-won falls deeper into despair, learning to regret the person she once was, and fearing what she may have done to result in the terrifying haunting. Surrounded by self hatred, friends who now distrust her, and disturbing glimpses of spirits from the Otherworld, she struggles to survive until she can remember once and for all who is haunting her, and why. She will learn more than she wants, and such revelations cry out for vengeance!

Ghost is many things. First, it is a fine example of traditional ghost story techniques. The pattern of digging up old memories and piecing together new clues in fragments is a well worn but always serviceable structuring device, building increasing suspense and moments for character development even as the investigative events mirror -- and make more believable -- the supernatural occurrences. Likewise, the necessity of retracing one's steps and past life also fulfils the need particular to the ghost story to provide a rationale or reason for the supernatural incidents, enabling the filmmakers to develop two major narrative streams, doubling the richness of the plot. More important to the casual viewer or fan, the story is never short of character interest or mood -- and as we all know, atmosphere is the glue which either binds together or lets fall the other elements of a supernatural story. Perhaps the finest aesthetic achievement of this heart-pounding creeper is the way in which it sneaks up on you. This BOO! Mentality is strengthen by a maintained interest in the character's internal dilemmas and by focusing on the way she struggles to deal with both the supernatural and what she learns about herself. With definite shades of the 'Schoolgirl Trilogy' (Wishing Stairs, etc) obvious in its set up, Ghost carves out its own shadowy territory. Impressive indeed is the director's ability to balance outright horror with moody subtlety. This newest addition to Tartan Asia Extreme's spectacular genre line-up is an ode to storytelling of old, merging classical themes of cosmic human interest with emphasis on disturbed psychology and the occult. This chiller should raise both goose bumps and tears, as dramatic in its study of human relationships as it is calculating in its plotting. Finding terror in suggestion, this story is devoted to complexity of character. The twist is truly astounding, subverting the entire story that went beforehand, yet in no way betrays the audience or theme. No matter how you look at it, Ghost is a subversive, emotionally challenging ride through a night tunnel of terrors.

Tartan's Asia Extreme continues to delight devotees of emotionally daring shriek shows with this technologically crisp release. Ghost is presented in anamorphic widescreen, sporting moody crisp images and startlingly clear descriptions. Colors are bold, lighting marvellously captured. Korean Audio tracks in Dolby Digital 5.1 are clean without distortion, evenly distributing the score and sound effects. Extras are engaging if not as exclusive as those for other AE releases. These include a series of Cast Interviews, wherein the stars speak about themselves, their take on the material, and their relationship with characterization. While this could be seen as just another promo, the talent is for the most part sincere and enjoyable to listen to. The Behind the Scenes feature is less so, although technical geeks may find something of interest. Most entertaining are the TV Spots for the film, the original Theatrical Trailer, and a slew of other spots.

Review by William P. Simmons