Drag me to Hell (Sam Raimi/2009/USA)
Drag me to Hell is a distinctive post-modern fusion of horror films and something technologically youthful, like a video game, that makes almost every single sequence in this film demonically thrilling, dynamically accented, and crazily choreographed.
The title is literally the ultimate conclusion of the curse, the protagonist Christine (Alison Lohaman) is suffering. Inflicted by an odd old Mexican woman, Christine is forced to outplay the evil that is waiting for her to be dragged to the fires of hell.
I am extremely convinced that this film is a product of the continuously evolving aesthetics (visually, temporally) of human beings doing the more than a century craft of filmmaking. Its very youthful, very pop culture approach as if it is an adaptation of a certain video game gives the movie a way too original package in totality. It is not even a derivative of horror films that creates the same old eerie, disgust, and supernatural fear. “The Exorcist”, M. Night Shyamalan’s “The Sixth Sense”, and even Stanley Kubrick’s “The Shining”, these all time favourite and well-acclaimed horror films are all austere-atmosphered movies. Never a combination of horror and craziness has been this great, especially when you can think of the Scary Movie as its closest competitor. Drag me to Hell has just got the innovative horror, coalescing eerie places, creepy people (imps pretending to be people), tormenting evils, and combating them and artistically exaggerate everything with scenes originating from the usual purpose of disgusting people bringing real fear but were modified. Thus, using the same purpose, creating a knock-outing punch, the disgust didn’t generate the fear that has been generated by previous horror films we watch, instead, producing a relaxed fear and vivid satisfaction out of the crankiness that is poured.
Sam Raimi director of the Spiderman 1-3, and now the upcoming fourth, delivers a great piece of survival and salvation. The ground cracking in Satan’s scorching fire witnessed twice in the film (first, during the first encounter of the powerful medium (Adriana Barazza), and second during the end where Christine is swallowed up by it. Co-written by Ivan Raimi, the major twist happened when Christine thought that she can pass back the curse to the spooky woman who wreaked it out to her, but accidentally giving it to her boyfriend, which doesn’t mean she has passed it to him, rather unable to pass it to anyone until the time the blight will take place.
The people in the film are divided into two parts: the Americans and the non-Americans. Americans are the protagonists and her boyfriend, and her boss, which simply means the normal or the ‘main’ character. The non-Americans vary from one to another, the Chinese represented by the co-worker of Christine, who would do anything to get the promotion against Christine by all means. The Indian is represented by Rham, the fortune teller who tells her about what is haunting her. The Mexican is with Shaun San Dena, the medium who is supposed to free Christine from the evil of the curse, and of course the frightening old woman, Ganush, who imposed the demonic curse.
No comments:
Post a Comment