Mise En Scene:
Our sequence begins in a location of a middle class seaside Japanese city, which typically is very crowded and full of roadworks (in natural lighting as it is filmed in a real location). Next we are taken onto the balcony of a city apartment, where stands a middle aged male dressed in grey casual sleepwear (Professor Peter Kirk played by Bill Pullman). The man shows a rather troubled expression as he gazes over the balcony and onto the urban landscape. Behind him a younger female lies in bed, dressed also in casual sleepwear; from her affectionate dialogue, she can be recognised as his partner (Maria Kirk portrayed by Rosa Blasi). As the male remains mute and somewhat disturbed, he then goes on to throw himself over the balcony and onto the crowded streets of Japan. Crowds gather round and whisper in shock at the apparent suicide which took place.
During the title sequence of 'the Grudge' typical aspects of a horror film can also be recognised easily, throught the use of only the colours black, white and red (red being the colour of blood). The background consists of black hairs which appear to be floating in red water (relating to the murder of the main antagonist as she is drowned and subsequently also has black hair). The black text also appears to float away like smoke, adding to the ghostly illusion.
After the title sequence we are then transported to another crowded Japanese street scene, this time concentrating on a young Japanese female who is riding a bike. Once the female reaches her destination, the building resembles a stereotypically spooky house, with creeky gates and small wooden windows. When inside the house, artificial lighting is evidentally used and the interior of the building itself consists of muted, greys, creams, yellows and browns. Inside the seemingly unkempt living area sits an elderly caucasian female, who displays a muted and dazed attitude, obviously uncomfortable within her surroundings (the younger Japanese female is the revealed to be her carer). Later on in the scene, the Japanese female goes into an upstairs room, taking with her the house phone. And upon hearing unusual footsteps coming from the attic above, she cautiously investigates. In the dusty, cobweb filled attic, our female proceeds to use a lighter in aid of lighting the dark room. As the character peers around the room, unsuspectingly a frightening female ghost appears, attacking the young lady. The ghost is shown only quickly but her whitish blue features and long black hair are visible. Our scene concludes with the Japanese female's screams being heard and her struggling legs being lifted into the attic above.
Camera Angles:
Shimizu uses a variety of camera angles to compliment the spooky intentions of his typical horror film. Our film opening with a classic establishing shot of the Japanese sea scape, then zooming into the apartment balcony to reveal the crucial character who is Peter Kirk. Various shot-reverse-shots are used as his wife attempts to converse with him unsucessfully, leading onto a two-shot of the two. As Peter throws himself over the balcony a subjective point of view shot is used with quick forward tracking from the balcony and to the streets below, this in itself gives the audience an almost adrenaline rush. This scene concludes with a high angle shot of Peter's lifeless body sprawled in the street.
A long shot then introduces us into the next section as the female character draws closer on her bicycle. Inside the house various cose ups are used to show the confusion of the elderly female character who is in an obviously bad mental state. Later on, as the female proceeds into the upstairs room a tilt is used whilst the female looks up at the ceiling (footsteps can be heard). When the female is stood within the attic a medium shot is used as half of her body is inside the room itself, horizontal tracking is also used whilst the female surveys the room. An extreme close up is then used on the ghost's face to give the audience a shock, due to the sheer speed of the revelation. This scene concludes with vertical tracking of the female's legs being lifted into the attic.
Sound:
Throughout the opening sequence of 'The Grudge' eery incidental music is used, particularly that on the piano, in an almost echoey fashion. As the film begins in a crowded harbour town, ambient sounds of seagulls, water ripples and roadworks are used denoting the location. Dialogue is sparsely used due to the silence of the key male character. Also, the non diegetic incidental music appears to lower in frequency after the suicide, as the silence adds to the tension. During the title sequence, whispers appear to louden in frequency and tempo, along with the faint orchestral piano music. Japnese dialogue is also apparent as the female carer speaks on the phone. As the audience are shown the ghost also, the non diegetic music appears to slow and quieten up until the female characters legs are shown struggling (the music then climaxes).
Editing:
There is very little editing which is evident to the audience as the majority of it flows with seamless edits. However, fade in and outs are used at the beginning and end of crucial scenes, the suicide for example. A slight dissolve is also used too, as the female carer cleans around the house and enters the upstairs bedroom. Cuts seem almost slow and methodical during the attic scene, most likely to prolong the tension held within the situation.
Camera Angles:
Shimizu uses a variety of camera angles to compliment the spooky intentions of his typical horror film. Our film opening with a classic establishing shot of the Japanese sea scape, then zooming into the apartment balcony to reveal the crucial character who is Peter Kirk. Various shot-reverse-shots are used as his wife attempts to converse with him unsucessfully, leading onto a two-shot of the two. As Peter throws himself over the balcony a subjective point of view shot is used with quick forward tracking from the balcony and to the streets below, this in itself gives the audience an almost adrenaline rush. This scene concludes with a high angle shot of Peter's lifeless body sprawled in the street.
A long shot then introduces us into the next section as the female character draws closer on her bicycle. Inside the house various cose ups are used to show the confusion of the elderly female character who is in an obviously bad mental state. Later on, as the female proceeds into the upstairs room a tilt is used whilst the female looks up at the ceiling (footsteps can be heard). When the female is stood within the attic a medium shot is used as half of her body is inside the room itself, horizontal tracking is also used whilst the female surveys the room. An extreme close up is then used on the ghost's face to give the audience a shock, due to the sheer speed of the revelation. This scene concludes with vertical tracking of the female's legs being lifted into the attic.
Sound:
Throughout the opening sequence of 'The Grudge' eery incidental music is used, particularly that on the piano, in an almost echoey fashion. As the film begins in a crowded harbour town, ambient sounds of seagulls, water ripples and roadworks are used denoting the location. Dialogue is sparsely used due to the silence of the key male character. Also, the non diegetic incidental music appears to lower in frequency after the suicide, as the silence adds to the tension. During the title sequence, whispers appear to louden in frequency and tempo, along with the faint orchestral piano music. Japnese dialogue is also apparent as the female carer speaks on the phone. As the audience are shown the ghost also, the non diegetic music appears to slow and quieten up until the female characters legs are shown struggling (the music then climaxes).
Editing:
There is very little editing which is evident to the audience as the majority of it flows with seamless edits. However, fade in and outs are used at the beginning and end of crucial scenes, the suicide for example. A slight dissolve is also used too, as the female carer cleans around the house and enters the upstairs bedroom. Cuts seem almost slow and methodical during the attic scene, most likely to prolong the tension held within the situation.
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