As the mentally deranged killer calls the house and engages in obscene phone calls with the female residents, one can’t help but also be reminded of the scene in Carpenter’s film where Laurie (Jamie Lee Curtis) calls her friend Lynda, only to hear her strangled with the telephone cord. Like Halloween, it lingers heavily on POV shots from the killer’s eyes as he prowls through a dimly lit sorority house and spies on his future victims. Yes, the same person who gave TBS its annual Christmas Eve marathon fodder was also responsible for the first major cinematic application of the phrase “The calls are coming from inside the house!” Black Christmas, which was insipidly remade in 2006, predates John Carpenter’s Halloween by four years and features many of the same elements, especially visually. Stars: Olivia Hussey, Margot Kidder, Keir Dullea, Andrea Martin, John Saxonįun fact-nine years before he directed holiday classic A Christmas Story, Bob Clark created the first true, unassailable “slasher movie” in Black Christmas. You may not leave the theater scared, but you will leave it scarred, which is by far a more substantive response than naked fear. When The Wailing arrives at its final, spectacular half hour, you’ll vow never to ask these questions about your own life, ever.
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What do you do when your holy authority figures fail you? What do you do when you can’t trust your perception? Na has made these ideas, though hardly new in the horror canon, his film’s full purpose, and his conclusions are devastatingly bleak. This is an incredibly creepy and oft-unsettling film, but Na finds the tug of disbelief far more upsetting than the sight of bodies cut apart and blood splattering the wall. When Jong-gu shows up, all is bedlam people are screaming and crying, emergency workers litter the area like ants at a gory picnic, and the killer sits in a stupor, unaware of neither the mayhem nor the vicious boils coating their skin. The film’s first full sequence shatters the calm as Sergeant Jeon Jong-gu (Kwak Do-won, turning in a knockout performance) is called to the scene of a savage multiple murder. The hushed serenity blanketing The Wailing’s opening images creates an atmosphere of peace that Na is all too happy to subvert (similar to how he subverts Bible verses). It’s a lovely, bucolic setting that Na and his cinematographer, the incredible Hong Kyung-pyo, take fullest advantage of aesthetically and thematically. The Wailing unfolds in Gokseong County, an agricultural community nestled among South Korea’s southern provinces. He’s out to corrode our souls, much in the same way that his protagonist’s faith is corroded after being subject to both divine and infernal tests over the course of the film. Na trades in doubt and especially despair more than in what we think of as “horror.” He isn’t out to terrify us.
There is wailing to be heard here, yes, and plenty of it, but in two words Na coyly predicts his audience’s reaction to the movie’s grim tableaus of a county in spiritual strife. title of Na Hong-jin’s new film, The Wailing, suggests tone more than it does sound.
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