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Rachel travels to Shelter Mountain Inn where Katie stayed, discovering the rumoured cursed videotape. Rachel learns Katie’s friends all died on the same night, sporting disfigured appearances. Rachel lives with her young son Aidan, who possesses a degree of mediumship. Minutes later, Katie is killed by an unseen force, and Becca is institutionalized after witnessing it.Īt Katie’s funeral, her mother, Ruth, urges her sister Rachel Keller, a journalist, to investigate her daughter’s death. Katie claims she watched the tape with three friends a week ago. In Seattle, teenagers Katie Embry and Becca Kotler discuss the legend of a cursed videotape whoever watches it dies seven days later.
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When Aiden asks what will happen to the next person who sees the tape, Rachel remains silent indicating that the answer to that question is less important than Rachel and Aiden saving themselves.Ĭonsidering Ringu and The Ring on a continuum doesn’t increase the terror Samara represents but it does allow for a broader consideration for the ways in which depictions of monstrosity are contingent upon the gender and familial expectations of a culture.Creator: Ehren Kruger, Kôji Suzuki, Hiroshi TakahashiĪctors: Naomi Watts, Martin Henderson, Brian Coxĭownload The Ring (Hindi Dubbed) 480p – 720p ~ Movie Info: Conversely, the notion of individualism is so prevalent in United States mythology that the ending of The Ring conveys a totally different sentiment. The crucial moment in Ringu also suggests it will be the elders of the community to pay the ultimate price. It is the ultimate moment of paternalism in that it isn’t Reiko who will ultimately save her son but his grandfather. The implication is that Reiko will ask her father to view the copy of the tape made by her son in order to save her son’s life. In Ringu, the film concludes with Reiko phoning her father and telling him she needs his help for his grandson who has seen the tape. Traditionally, Japanese culture is more based in collectivism, or what’s best for the community as a whole. This struggle also plays out in the genesis of the horror in the two films. It is essentially a struggle between individualism and collectivism. Whereas Rachel’s actions are fueled by the very selfish desire to keep her son alive, Anna’s motivation is to protect the community that has been suffering as a result of Samara’s presence. Interestingly, the motives of the two mothers vary wildly. Similarly, Anna Morgan’s murder of Samara, too, is somewhat sympathetic, as the audience understands that by killing Samara, Anna is killing herself as well. Her decision at the end of the film to have her son duplicate the tape even though she knows an innocent will die as a result is both monstrous and understandable. Rather, she is just a mother who is placed in an absolutely unwinnable situation. In the case of Rachel, we are given a truly accessible monster.
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Aiden’s exposure to the tape in the domestic home is a direct result of his mother’s work.
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As an investigative journalist trying to determine what happened to her niece, the VHS tape represents the work product of a working mother. Second, it underscores Rachel’s culpability in Aiden’s predicament. Yet, Rachel’s driven curiosity upsets the random order of the victims and brings those closest to her in contact with a tape they otherwise would have likely avoided. Samara’s horror is designed to be arbitrary which is why the initial victims stumble upon the tape. First, it illustrates Rachel’s curiosity that is linked to pleasure. This is an important distinction for two reasons. Unlike in Poltergeist where the evil is situated under the house, The Ring’s Rachel brings the VHS tape into the home. While it’s true that in each case the television is the mode of disseminating the evil, its actual point of entry is radically different. I disagree with reviewers who argue that, like Poltergeist, the demonic spirit in The Ring is given entry into the suburban home via the television. In comparing the two versions of The Ring, I was interested in how motherhood was used to convey monstrosity. What I discovered is that watching these two films as companion pieces instead of as individual films yields a much more interesting commentary on the connection between community and monstrosity. And so it was with very little expectation that I went into a viewing of Ringu (1998), the Japanese film that The Ring remade. And while I’m not necessarily against that approach in horror, I just never found the essential horror being explored all that compelling. As the story of a possessed video that once watched curses the viewer to death by a demonic spirit, the film is more interested in conveying a sense of dread than it is in creating bloody spectacles. Unlike many horror fans, I was not too impressed with The Ring (2002).