The Japanese film The Forbidden Play directed by the renowned Hideo Nakata, is a massive disappointment. Nakata, famous in the realm of J-Horror for creating the classic horror film Ringu and the iconic ghost Sadako, has delivered a film that fails in every aspect—pacing, atmosphere, narrative, character development, and scare tactics. Watching this movie is an utter waste of time!
From the beginning, the film reeks of cliché and mediocrity.
In the garden of a middle-class family, Naoto Ihara (Daiki Shigeoka) and his wife Miyuki Ihara (Uika First Summer) chat pleasantly. The scene is serene and sunny, with an air of warmth and comfort. However, this seemingly happy scene is shattered when Miyuki ominously says, "Don't betray me again."
Based on my extensive viewing experience, this is clearly a story about infidelity and betrayal.
Then, their child Haruto (Minato Shougaki) finds a severed gecko tail in the bushes. Naoto jokingly tells his son that if you bury the tail and recite a spell, it will grow into a new gecko. Haruto, however, asks why it should be a gecko growing a new tail and not a tail growing a new gecko.
Again, from my experience, it's obvious that this tail will somehow literally grow into a gecko later, and the story will probably involve some theme of rebirth.
Sure enough, a tragic car accident occurs, resulting in the deaths of Miyuki and Haruto. But a bolt of lightning strikes, and Haruto is revived. This setup could work, but it's just too trite. After being resurrected, Haruto is engulfed in grief over his mother’s death. He secretly buries her severed finger, and predictably, Miyuki is resurrected, leading to a series of eerie events.
Meanwhile, another character, Naoto’s former colleague Hiroko Kurazawa (Kanna Hashimoto), enters the scene. She once had a crush on Naoto, but Miyuki, having detected her feelings early on, held a grudge against her, often threatening and intimidating her. Miyuki is portrayed as an eccentric and somewhat unlikable character.
After Miyuki's death, Hiroko and Naoto's paths cross again. The resurrected Miyuki starts to haunt Hiroko with prank calls, terrifying screams, and other clichéd horror antics, which have been used countless times in other horror films, making these scenes neither scary nor fresh, but rather ridiculous and dull.
The film lacks proper direction and has a chaotic pace. Death, resurrection, pranks, revenge, and the final showdown all happen without proper build-up or logic. The plot developments are abrupt and lack plausibility, making it hard for viewers to understand the characters' motivations and emotions, rendering the depiction of humanity very superficial. Miyuki’s jealousy towards Hiroko doesn’t convincingly show her love for her husband; she just appears to be raving senselessly. We also can’t see Hiroko’s emotional torment; she just seems neurotic. With such weak emotional portrayals, the supposed entangled hatred is hard to believe.
The story’s progression is disjointed, failing to create the necessary tension and suspense, making the predictable narrative boring. Viewers can hardly feel any real emotional conflict or psychological struggle, severely diminishing the film's emotional impact and resonance.
Even worse than the plot is the acting. Kanna Hashimoto’s performance is disastrous. Her character is not only emotionally stunted but also fits the stereotypical dumb horror film heroine. Her acting consists solely of exaggerated eye movements—scared, angry, curious—all conveyed by wide-eyed expressions, so much so that I didn't even recognize her initially.
Not only Hashimoto, but the other main actors also disappoint. Miyuki looks not frightening at all; despite her eerie demeanor, her exaggerated expressions—rolling eyes, sideways glances—seem forced and unconvincing.
All the actors appear to be mechanically reciting lines, lacking genuine emotion and interaction. Naoto and Miyuki’s interactions are awkward, as if they barely know each other. The only decent performance comes from the child actor playing Haruto, who genuinely seems to want his mother back and is the only likable character.
Moreover, the horror scenes are outdated. The film is filled with old horror tropes like the return of the dead, spoon bending, and exorcism. The horror effects are cheap and fail to deliver the intended chills, often resulting in unintended comedy. The final “flower demon” scene is particularly embarrassing, failing to evoke fear and instead coming across as laughable.
Visually, the film is mediocre. The composition lacks aesthetic appeal, and the lighting is flat and uninspired. The overall color palette is dull and monotonous, giving the impression of a film that had a filter slapped on post-production. The director seems clueless about using light and shadow to create a spooky atmosphere. Attempts to highlight frightening expressions with harsh white light only detract from the visual impact and atmosphere typical of a good horror film.
The most unbearable aspect is the film’s shallow thematic expression. As a unique genre, horror films can explore the darker sides of humanity through supernatural phenomena. This film attempts to provoke thoughts on infidelity and family ethics through the resurrection ritual but presents the moral dilemma very simplistically. The core message is "Don’t cheat, don’t even think about it," which is so preachy, thin, and straightforward that it might as well be a morality lesson.
The creators’ overuse of Japanese horror culture is evident, particularly the clumsy incorporation of old ghost stories. The film borrows heavily from traditional Japanese ghost culture, like the “Ushi no Koku Mairi.” The purpose of this ritual is to inflict misfortune or suffering on one's enemies through supernatural forces. Participants are often depicted as being filled with resentment, extreme pain, and despair. But in this movie, these elements are used superficially and do not enhance the story, instead making it seem like the plot is padded with cultural references.
The mindless replication of supernatural elements, such as Haruto gaining psychic powers after the accident, is clearly lifted from Ring. Some scenes, like Miyuki crawling out of the ground after her resurrection, are directly copied from Ring. However, these elements add no tension or mystery to the plot and instead feel like a rehash.
The film also includes an exorcism subplot, where two exorcists notice something strange around Hiroko and offer to help, only to disappear from the story abruptly. This sudden inclusion and omission make no sense.
In conclusion, The Forbidden Play is a thoroughly failed film. As a former representative figure of J-Horror, Hideo Nakata’s decline and lack of creativity are evident in this film. From its chaotic pacing and poor performances to outdated horror techniques, shallow themes, and mediocre visuals, the film lacks any redeeming qualities. For horror fans, this viewing experience is a major letdown. Whether Nakata can return to his former glory remains to be seen, but The Forbidden Play is undoubtedly a significant blemish in his directing career.
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