‘Before you die, you see the ring…’
Today’s entry in our Spooktober marathon is going to be a little different because although The Ring was initially a novel by Koji Suzuki, I’m going to be talking mostly about the film adaptation(s). Why? Because The Ring is one of those rare anomalies where I honestly believe that the film adaptation is better than the original novel. Partly it’s because I’ve only read the book in translation; partly it’s because the films excise some of the more problematic aspects of the novel (including, the more sordid details of Sadako’s backstory, and Ryuji’s rather tasteless enthusiasm for sexual assault). Mostly I think it’s because this is a story that works better with a supernatural bent than a pseudo-scientific explanation: Sadako in the film is a ghost, in the Japanese tradition of vengeful onryo, rather than a combined electromagnetic/psychic manifestation of syphilis. But then, the first movie was directed by Suzuki himself, so it’s not like I’m downplaying his role by stating a preference for the film.
It’s also unusual in that the western remake is not only competent but arguably as good as the original. So whichever interpretation is your favourite is up to you.
In case you’re not familiar with it, The Ring is the story of a cursed videotape that kills anyone who watches it, and the desperate quest to find a way to stop it. Although it felt fresh and new to a Western audience, The Ring is actually working within a rich tradition of Japanese horror: ghoulish spirits seeking vengeance with power they never had in life; haunted, animated technology; the invasion of the everyday by the uncanny. It all reads like a subversion of the typical ghost story tropes, leading to an end that puts a genius (and savage) twist on the hope that appeasing the spirit will deflect its vengeance. Yet it’s also subtle: the Japanese film only features one horrifying moment towards the end, but I still had to stop and switch on the lights a couple of times while watching as the tension built but was never really allowed to deflate. It’s a work that lingers long after it’s over by playing on our paranoia, by stoking the fear that our everyday environment and all our technological comforts could be used against us.
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