Inspired by Mark McShane’s 1961 novel Séance on a Wet Afternoon, Kurosawa Kiyoshi, director of Cure (1997) and Pulse (2002), among other classic dark cinema features, ventures into the realm of made-for-television movies. As such, it may be easy for J-Horror aficionados to overlook this little gem in Kurosawa’s oeuvre. Kurosawa’s previous works for television, a series of Yakuza stories, have not distinguished themselves. To put it simply, the kind of death and horror that Kurosawa would soon display in Pulse is de-emphasized for the sake of a more general television audience. Nevertheless, Kurosawa does not curtail his talent for telling a story that is driven by well-rounded characters, complete with the inner-turmoil and failings that are often a part of life, and which compel his characters to given in to their fears.
“Sato Koji” (Yakusho Koji) and “Sato Junco” (Fubuki Jun) are an ostensibly ordinary couple living in a country house. Seemingly happy, Koji works as a sound technician for an unnamed company while his wife Junco stays at home. However, Junco is not exactly a typical housewife. She has a gift for contacting the dead—she is a medium. It is also a power that has attracted the attention of a psychology graduate student “Hayasaka” (Kusanagi Tsuyoshi) who is interested in studying her psychic abilities. From the perspective of science, Junco’s capacity for communicating with the deceased is something that ought to be validated through research. On the other hand, from Junco’s point-of-view, her connection with the spirit world is both a gift and a curse, which becomes evident when she takes a job as a waitress at a local restaurant and her proclivity for seeing ghosts becomes an issue. In between Junco and Hayasaka is Koji, who obviously knows the burden that his wife carries and does his best to be supportive.
Fate soon appears in the form of an anonymous little girl (Isobe Shiori) who is kidnapped by a deranged former policeman, only to escape unknowingly into the hands of Koji, who happens to be out on an assignment at Mt Fuji, where he is recording wind blowing through the trees. At first shocked at finding the kidnapped girl on their property, Koji and Junco initially decide to call the authorities. However, Junco has sudden doubts about how things will look, given that this child is the victim of a much-publicized kidnapping. Consequently, instead of calling for help, Junco comes up with a plan for what she thinks will spare them any accusations from the police. Junco will feign using her psychic ability to “help” the police locate this girl. In fact, because of Junco’s relation to Hayasaka, she has already been introduced to a detective (Kitarô) as a possible resource for finding this little girl. In light of which, Junco will use the trust she has earned from Hayasaka and convince him that, whereas before she could not be of help, now she can, a ploy that will also inspire a desire for fame in Junco’s heart.
Eventually, tragedy occurs and the once ordinary couple of Koji and Junco find themselves in extraordinary circumstances, the forces of which are becoming much more than either of them can control. One of the more memorable scenes is a conversion between Koji and the Shinto priest (Aikawa Shô) that he has asked to purify his home. Upon completing the purification ritual, Koji asks the priest what he should do, now that his house has been purified. The priest, after hesitating at the question, counsels Koji and his wife, who is not present, to be honest and live ordinary, which are two things that the couple has ceased to do. Two other noteworthy scenes are a symbolic encounter between Koji and his doppelganger, along with a nod to Nakata Hideo’s Ringu involving the little girl. Speaking of nods to other films, in the clip provided below, Kurosawa references a character that he will later develop in Retribution (2006). Lastly, for anyone familiar with Bryan Forbes 1964 adaptation of McShane’s novel, one will quickly notice that the two films have very little in common. Forbes’ version is noted as being more faithful to the book, while Kurosawa’s film is more faithful to the world he created in Cure and further developed in Pulse, which themselves are respectful of the Japanese ghost story tradition.