Editor’s Note: This was originally published for FANGORIA on January 29, 2007, and we’re proud to share it as part of The Gingold Files.
Without sufficiently fresh memories of the theatrical version of The Grudge 2 (see original review here), or a copy of that cut handy on disc, it was hard for me to tell exactly where the approximately six minutes of “extra footage too scary for theaters” were to be found in Sony Pictures’ unrated DVD edition. A couple of punchlines seemed a little nastier than before, and extra beats of tension may have been added here or there, but there didn’t seem to be much on view to seriously threaten the initial PG-13 rating. Once again, the above-quoted tagline seems more like a marketing ploy than anything else—and what can one think about a studio that would deem scenes from one of its highest-profile horror films to be “too scary for theaters,” anyway?
There’s no commentary either to identify the restored footage as it plays, and in any case, the overall experience of watching the movie remains the same. (The gritty-yet-slick 1.85:1 transfer and creepy Dolby Digital 5.1 sound duly match the theatrical experience.) Despite the assertions on a few of the disc’s supplements that Ju-On/The Grudge creator Takashi Shimizu and co. were aiming to explore fresh ground here, this sixth in the director’s mini-industry amounts to more of the same, and even a first-time relocation to the U.S. for one of the three intercut stories doesn’t provide sufficient variety. There’s also some discussion amongst the featurettes about the challenge of making a movie that satisfies both Asian and Stateside expectations for genre fare, but what this team really should have focused on was reconciling the market demand for yet another installment with the reality that the ghostly Kayako (franchise stalwart Takako Fuji) and Toshio (Oga Tanaka this time) have run out of tricks.
That idea is only reinforced by one of the extras unique to the unrated disc, the three-part Tales from the Grudge introduced by a suited Sam Raimi, a producer and guiding force behind the Americanization of Shimizu’s mythology. This trio of short linked vignettes (directed by visual FX artist/title designer Toby Wilkins) bringing more of the anger-curse to our country is certainly professionally done, but serves mostly as proof that there’s very little left to do with this concept. Also visible only on the unrated edition is Holding a Grudge: Kayako and Toshio, in which Shimizu, producer Taka Ichise, Fuji and even little Tanaka explore the psychology and onscreen creation of the vengeful, destructive spirits. Actually, Fuji (who is heard in voiceover and shown behind the scenes in makeup, but is never seen as herself) insists that in this sequel, the idea was for Kayako to be viewed as a tragic figure who “wants to be loved…to be understood.” It’s a fair ambition that could have set Grudge 2 apart, but sadly goes unrealized as Kayako remains a figure of malevolence throughout.
Nonetheless, the featurette itself is interesting and well-put-together, as are a further trio included on both versions of the DVD. East Meets West addresses the differences between Asian and U.S. approaches to screen fear and the challenges of combining them, with commentators including Grudge 2 executive producer Roy Lee (the producer most responsible for marrying the two), Raimi’s partner Rob Tapert and even Ringu Ø director/newly minted Master of Horror Norio Tsuruta. It also reveals a more specific culture clash that occurred on the sequel’s set, where Shimizu had to communicate with his English-speaking cast via a translator, as demonstrated through both on-set footage and interviews with the cast, including Arielle Kebbel (with short blonde hair, barely recognizable from her dark-wigged onscreen persona) and Teresa Palmer (speaking in her true Aussie accent, providing a similar contrast with her American character). There’s even video footage of the traditional purification ceremony conducted at the start of the shoot at Toho’s studio, and of wardrobe fittings with the entire crew present—intriguing peeks at a different style of film production.
Ready When You Are, Mr. Shimizu is rife with the expected praise of the filmmaker’s abilities, but also allows a glimpse of his lighter side, as he’s seen pulling pranks and deadpan joking with his actresses. But the most revealing of the minidocumentaries is “Grudge 2” Storyline Development, providing an up-close look at the struggle to develop a movie that would satisfy two countries’ worth of masters, complete with video from inside the “Grudge 2 Meeting Room.” Clearly the road to the final script was a bumpy one, and we learn that the story was still being worked on during filming, with certain scenes shot two ways; no-nonsense Ichise recounts his differences with the studio brass, including his objection to their suggestion that Kayako be made a twin for this movie!
Speaking of variations on sequences, the highlight of the deleted material is an alternate ending that’s more explicit in its horrors than the one that was used, but is most notable for finally allowing us to see three images pictured in our Grudge 2 story in FANGORIA #257, as well as the one on the cover of #256, that never made it to theaters. Finally, Reel Change Montage is actually assembled from the heads of camera rolls, as assorted smiling and joking cast and crew members take turns holding up the identifying slates. Shimizu assembled this fun collection of footage as “a tribute” to his creative team, and it’s one that can be appreciated by the people involved and home viewers alike.
