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sort of blueish-gray color.” Whether you believe Hoichi is touched by evil or just led astray, the guy’s certainly on a mission. And it makes things like rain, and even a lack of sight, irrelevant. The two bumbling idiots hired to spy after him (terrified of rain, noises, everything) recall the two peasants in Akira Kurosawa’s Hidden Fortress (also known as R2D2 and C3PO). Question: Why do the Heike clan ghosts want to keep hearing the story of their own demise again and again? Look, they lost. They’re dead. They need to get over it. And I wonder if this didn’t inform Miyazaki’s idea for Spirited Away, in which the dead spirits are drawn to the bath house night after night in what amounts to a sort of ritualistic celebration of their own deadness. Like I said, get over it, or get scrubbed down nightly by some pre-pubescent hot Japanese chicks—wait— Eerieness: solid Biwa Playing: beyond reproach Color: blue turning gray over you Mural Scrolling: Andrei Rublific Applicability: Um, yeah Story Four (In a Cup of Tea): Orange, blue and green. The spiral into madness makes my heart flutter. Eerieness: delayed Biwa Playing: choreographic Color: retained Mad Laughter: plenty Applicability: Ringu, I love you yeah, yeah, yeah As you watch each story in Kwaidan, you learn certain things. For example, the more attractive the girl, the more likely she is to be from another world. Also, eerie sounds are bad. Storms? Bad. Doors swinging open on their own—you guessed it, bad. And so the way it works is you learn these rules, which the film then uses to build suspense and terror. Almost paradoxically, therefore, the more you know, the more control the film has over you. All horror films do this, only the Japanese do it better. “What, this? Babies aren’t scared of this! Bring me a baby. I’ll prove it.” – Master Shake, Law and Order, Criminal Intent 118
Exit Interview for Kwaidan: Q: The outdoor sets remind me of the second act in Full Metal Jacket. Is that okay? A: Yes. Q: I don’t get it. How are the four stories interrelated? I thought you— A: Yes. 119
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