[MacBlayne]

NOROI: THE CURSE

“This video documentary is deemed too disturbing for public viewing.” And thus begins Noroi. If you haven’t seen it before, do not watch the trailer. Do not even google it. It will ruin some of the best moments for you. I will refrain from any spoilers in this review. The less you know, the better, since Noroi lives up to its opening promise.

Noroi is a Japanese entry to the found footage genre, but don’t let that fool you. This isn’t a Blair Witch clone that looks like it was filmed on a camcorder nailed to a wheelchair rolling down a hill. Nor is it a Paranormal Activity style film, comprised of long static shots that might feature a door opening by itself and BOO!!!

Koji Shiraishi’s film is a mockumentary, although not one that is a parody of the genre. This has two major advantages. One, it allows Shiraishi to employ professional camerawork that knows how to frame, and when to zoom appropriately. The cameraman is a proper speaking part, that converses with the host which in itself gives the viewer a position within the film.

The second advantage is the host himself. Played by a tremendous Jin Muraki, Masafumi Kobayashi is probably the most likable protagonist within a found footage film. He’s a kind-hearted individual that holds a fascination with the supernatural. He isn’t naïve that he wantonly accepts the weird, nor is cynical that he mocks his subjects. Honestly, he appears to operate out of an element of help, trying to find the solution to an issue troubling a subject. He seems very protective of his interviewees, and at one moment expresses dismay at what he considers exploitation on a television programme. Speaking of which, Noroi possesses a surprising streak of humour, especially with the television inserts. They really nail the "uniqueness" of Japanese TV.

What’s rather interesting about Noroi is that Muraki is a professional actor, as is the rest of the cast. I don’t mean that Noroi kickstarted their careers, but that they were, if not famous, already established within their field. Granted, not being familiar with Japanese television isn’t going to mean much to us gaijin, but for a genre that thrives on anonymity, it’s an interesting decision that clearly pays off. The acting is excellent, and they really capture that sense of wishful optimism and hopelessness.

Speaking of the professional cast, Noroi also surprises with its production values. Noroi was made with a $2,000,000 budget, which is extremely high for the genre, but it’s all there on screen. There are lavishly produced sets, props, costumes, and the film even utilises some startling special effects and audio trickery. The mere mention of special effects may throw you off, but I guarantee you that they are exactly what the film needs. The accompanying soundtrack is a marvel, sort of like a countdown timer performed by John Carpenter, and lends to the overall suffocation the impending horror provides.

Noroi can probably be best described as a cosmic horror. No, that is not a spoiler, or even a hint to a Lovecraftian reveal. What I mean is, Shiraishi creates fear from what we don’t know, not from the unknown. The scary unknown is something we have never considered, and what could it mean for us overall. Noroi gives us enough to let us know something is up ahead – what exactly that thing is though, is beyond our realm of knowledge.

The visuals deserve praise, which is something you almost never hear about found footage. As mentioned, Noroi benefits from professional camerawork and high production values, but like many great Japanese horror films and games (and David Lynch), it’s the juxtaposition of upsetting imagery against the mundane trappings of reality. Slap a grainy home-video filter on top of that, and you got the worst entry to You’ve Been Framed to date. There are images and sounds here that are burnt into my soul, and I hardly slept last night after watching it.

In regards to the story, the most I’ll discuss is the theme of the traditional versus modernity. Japan is a country torn between ancient customs and the expectations of modern life, and a lot of its post-WW2 cinema deals with that. Ozu’s films were the most lamentable. Fukusaku’s were the most nihilistic. Miike was the angriest. Noroi is the most aggressive and despairing.

Noroi is a slow-burning skin crawler. It’s like being slowly pulled by a strong current. You can’t do anything to fight it, so it’s best to let pull you until it’s safe to swim again. Far too late you discover that you are actually caught in a maelstrom that is impossible to escape. You’re beyond saving, but worst of all, you are given time to consider all of the mistakes that led you here.