The Tale Of Two Sisters (DVD)

The feeling you get when Janet Leigh takes a shower or Jack Nicholson enters a hotel bathroom, how long do you think a film can sustain that feeling of gut wrenching suspense?

In the case of ‘A Tale of Two Sisters’ the answer is well over an hour and hence it gains the moniker of “the most terrifying film I have ever seen”. An impressive claim which I will struggle to justify on paper (particularly without ruining the scares) but ...
...in a darkened room without the comfort of the pause button it will be worth the effort.

The film tells the story of two sisters (unsurprisingly) Soo-mi (Lim Su-jeong) and Soo-yeon (Mun Geun-yeong) who return to their family home after time away convalescing due to an unspecified illness. Their family consists of their mild mannered father (Kim Kap-su) and wicked stepmother (Yum Jung-ah). Whilst trying to readjust to family life, particularly ... more

The feeling you get when Janet Leigh takes a shower or Jack Nicholson enters a hotel bathroom, how long do you think a film can sustain that feeling of gut wrenching suspense?

In the case of ‘A Tale of Two Sisters’ the answer is well over an hour and hence it gains the moniker of “the most terrifying film I have ever seen”. An impressive claim which I will struggle to justify on paper (particularly without ruining the scares) but if I persuade only one of you to sit and enjoy this macabre masterpiece in a darkened room without the comfort of the pause button it will be worth the effort.

The film tells the story of two sisters (unsurprisingly) Soo-mi (Lim Su-jeong) and Soo-yeon (Mun Geun-yeong) who return to their family home after time away convalescing due to an unspecified illness. Their family consists of their mild mannered father (Kim Kap-su) and wicked stepmother (Yum Jung-ah). Whilst trying to readjust to family life, particularly their manic and maniacal stepmother, and simultaneously coping with the absence of their real mother, strange things begin to happen in the sisters’ country home. Bad dreams, noises in the dark, people creeping into bedrooms – and what’s that sound coming from Soo-yeon’s bedroom wardrobe?

Inspired by the folk tale Rose Flower and Red Lotus (the film’s original title) ‘A Tale of Two Sisters’ is brought to us by Korean writer/director Kim Ji-woon. He makes the brave decision to launch us into the action with little or no knowledge of what’s going on, and thanks to the rather slow delivery of any kind of back story it’s a state he keeps us in for most of the film. Though frustrating at first this is one of the film’s shrewdest moves, without any clue about why or what is happening it becomes impossible to predict what’s coming next and this certainly helps in maintaining that terror I mentioned earlier. This is Ji-woon’s other hugely successful tactic, in the first half hour of the film we are treated to a good two minutes of sustained horror in a scene which most obviously compares to the end of Ringu. Ji-woon places this relatively early in his story and from this point on you’re constantly waiting for something to petrify you. So though the plot is slow paced, far from being boring the audience is kept in a state of such discomfort that they can never relax. Every time someone walks into a room or opens a cupboard something doesn’t jump out at them, but you expect it to every single time – and that’s suspense.

The film is an atmospheric masterpiece where every element has been designed to scare you senseless. The most obvious construct is the family home, which becomes the central character of the film. Ji-woon’s use of contrast in the film’s opening scenes serves to enhance the house’s claustrophobia and creeping terror. When the girls’ first return we are treated to the sumptuous visuals of the Korean countryside, wide open spaces, warm inviting lakes, beautiful autumnal colours, the cinematography by Lee Mo-gae is breathtaking – and then we enter the house. Jo Geun-hyeon’s stunning art direction is showcased in the dark wood panelling and oppressive floral wall paper, a bizarre mix of east meets west the house is an environment no one could ever relax in. It is a place of almost constant night, daylight never lasting long enough and never really overcoming the shadows. Their stepmother inhabits it like a spider in her web, and what a deadly web it is. Quickly shifting from being purely ‘less the cosy’ the house begins to creak, moan and even bleed. Ji-woon keeps us perpetually trapped in this house of horrors the only brief reprieve near the film’s conclusion being mercilessly snatched away.

Combined perfectly with this beautifully designed abode is the film’s imaginative camera work. There are a lot of character POV shots which always work well in horror by preventing an audience from distancing itself from the film. A staple of oriental horror is the close up on character’s faces at the expense of seeing the action they are reacting to, which is one of the factors that sets recent Asian work in this genre above Hollywood efforts and one which is employed very successfully here. What I particularly liked was the feeling of cameras moving without restraint, round corners or through floors a device previously been used by that other master of suspense David Fincher in the nail biting ‘Panic Room’. Little flashes of invention are apparent throughout; 360 degree rotations, shaking cameras and skewed angles all help to make this more than just a conventionally shot chiller.

Other than the house the other obvious mechanism used to mount dread is sound. Once we are into the house the score is used very sparingly, in fact minutes of silence can pass before a huge discordant piano chord rings out signalling – well I don’t want to spoil any of the surprises…At other times music can be very loud and dramatic Lee Byung-woo’s score always used with restraint and always very effectively. It can even be slightly Hitchcock-esque at times; in one scene a particular combination of score, reveal and camerawork is very reminiscent of ‘Vertigo’. It is not just score and silence which works so well in this film, the whole sound design is magnificent. Ticking clocks, gentle wind chimes and most notably footsteps are all used to maintain a sense of unease and trepidation. The sound effects are particularly effective in a cinema as you are never totally sure where they are coming from and make this one to see on the big screen if at all possible.

The performances of the four leads (that’s not including the house) are all wonderful. The sisters combine innocence and strangeness perfectly. Lim Su-jeong in particular has a huge character arc to work through and demands pathos one minute and disquiet the next. She’s one character you never really know and Su-jeong’s performance keeps the mystery throughout. As the girl’s stepmother Yum Jung-ah is really the star of the show. She’s the only character allowed to make us laugh (though the more easily scared amongst you won’t be laughing much) her performance is awkward and mannered and hammy…and brilliant. A ball of nervous energy she is immediately disturbing and though not technically the villain of the piece she remains a hated figure right to the end. Mun Geun-yeong as the younger sister Soo-yeon is a more conventional role but she is believable and appealing nonetheless. Also saddled with less of a twisted character is Kim Kap-su as the family’s partriarch, such a restrained figure I was waiting for him to snap, but unfortunately the snap never came.

So the film is astonishingly scary, visually impressive and unusual with brilliant performances, but it isn’t perfect. I could have done without the now mandatory staples of Asian horror, the long haired figures with hair covering their face, the static television and of course the vengeful spirit; there’s a point where some new conventions are going to have to be invented and it’s a shame it wasn’t here. By the end of the film I was starting to get slightly frustrated by its reluctance to conclude and there was one particular cupboard I didn’t need to see opened AGAIN. The real let down though is the confusing and convoluted plot. I would have been perfectly happy with the film’s perplexing opening if we were treated to some kind of satisfactory explanation later on, unfortunately what we get is a tired twist that means the film demands a second viewing to make any sense. That said the film’s eventual final scene is both satisfying, scary and open ended – the best way to end a horror film.

This is everything you could want in a horror film and though it’s only a 15, if you are easily scared I would recommend waiting till video when you can watch it with a remote and the lights on (my viewing companion missed half the film as she had her eyes closed every time something scary was about to happen – a lot). Alright so the plot is puzzling and far less spooky than the series of visual jumps and jolts the film offers – but so what? This is intelligent, adult, unabating terror, which though I highly recommend you watch, I don’t recommend you do it alone…

This film is showing as part of Tiger Beer Tartan Asia Extreme 2004 Season exclusively with UGC Cinemas.

From August 13th: UGC Shaftesbury Ave, UGC Glasgow Renfrew St, UGC Brighton, UGC Edinburgh, UGC Dublin

From August 27th: UGC Enfield, UGC Cardiff, UGC Didsbury, UGC Boldon

From September 10th: UGC Nottingham, UGC Birmingham (Broad Street), UGC Sheffield, UGC Middlesbrough

For further details visit http://www.asiaextreme.co.uk/index.html
 

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