Compare & Contrast: Kairo/Pulse

I want to try something a little different this week, something I’ve been thinking about trying for awhile. If a foreign horror movie does well, as often as not it’s going to get a U.S. remake. And these remakes range from almost shot-for-shot duplicates of the original film to ones where tattered scraps of the original film cling to something otherwise wildly different. I think these exist mostly because the film industry in the U.S. makes a regular habit of underestimating the intelligence of audiences. Reading subtitles isn’t difficult, and if you’ll avoid a film because you don’t like to read…well, you’re part of the problem.

But within that space, there’s some potential to make observations about the differences between them. What survives the transition, and what doesn’t, which details changed and which ones didn’t. These choices can be revealing about the assumptions made by either set of filmmakers, and what sort of cultural touchstones go into making horror films, and what those say about their respective cultures. So what I’d like to do in a compare and contrast post is look at the original film and the remake side-by-side, to see what worked, what didn’t, and what the choices made in each film might tell us about the societies that produced each film.

A lot of this, for me, begins with what was colloquially referred to as “J-horror,” a group of horror films made in Japan from the late 90s to early 00s. It does seem to be sort of a watershed moment that marked increasing interest in horror films made outside of the U.S., and at a point where streaming hadn’t yet made access to films from all over the world easier. So along came remakes of the higher-profile J-horror films. So that’s where I’d like to start with this. My last post was on the film Kairo (Pulse), which is a (rightly) well-regarded example of the form. A bleak, chilly meditation on loneliness and urban isolation, it received a remake, titled Pulse, in the U.S.. The two films share a few similarities, but they are by far more different than similar, and I’ll likely be spoiling details of both films, so if you haven’t seen Kairo, maybe come back once you have - it’s pretty good. Overlong, but pretty good. The remake? Well, not so much.

AHOY! SPOILERS AHEAD! 

To start, both films share the same basic premise: Some kind of mysterious signal is transmitting itself over the internet, people who are exposed to it start committing suicide, and ghosts are starting to appear wherever these suicides occur. After that, things really diverge narratively and cinematically. In Kairo, the film followed two parallel storylines, that of Michi, an employee at a plant nursery, and Ryosuke, an economics student, as they separately discover this strange phenomenon. Pulse replaces the two parallel storylines with one, that of a young college student named Mattie and her friend group. This doesn’t really help or hurt the film, but the characters are so stock that it’s kind of annoying. It’s often difficult for me to pick up on character nuances in subtitled films, but in the remake it’s clear that these are two-dimensional college-kid caricatures, more concerned with partying and getting laid than anything else. Worse, the addition of a model-handsome miscreant who goes from “dude who bought a stolen computer” to Mattie’s love interest in rapid order is so fucking tiresome. He’s literally just some dude who purchased stolen property and maybe twenty minutes later he’s her biggest confidante, and by the end they’re making out. It isn’t necessary, it does nothing for the story or the characters, it just gives the filmmakers a chance to shove a dude with razor-sharp cheekbones and impeccably groomed beard stubble into the whole thing. That’s what a lot of horror movies in the U.S. were back in the 00s - impossibly good-looking people getting bumped off for reasons. Neither film was ever going to be a character study, but it’s really difficult to see this as anything but ticking boxes on some kind of focus-grouped checklist.

The changes to the film itself - the art direction, the specific story choices, the narrative details - are much bigger and really work to make the original and remake into two sharply different films. Kairo relied a lot on mood and atmosphere - it was a quiet, relatively empty movie, somber and melancholy. It took place in a drab, overcast part of Japan, full of rain-stained brutalist apartment buildings, and its important moments were simple- a silent figure in the corner of the room, mysterious black stains on the wall, people sitting still in barely-lit rooms, pale figures that bent and twisted as they walked. The result was eerie and full of dread, with the inexplicable horror of a nightmare. Pulse is not a quiet, empty movie. You’ve got your nightclub scene, you’ve got your bustling college campus, you’ve got evil cyber-ghosts who are all glitch and stutter and visual noise, a riot of special effects who make weird growling noises and suck people’s souls out of their faces. Do they come through electronic devices? Yes, except when they just pop out of washing machines for no apparent reason. They suck your life force out through the magic of special effects, then you lose the will to live, and then you just…vanish? Maybe we’re supposed to assume that they kill themselves, but this is a film that’s far more squeamish about the idea of suicide than the original was, even though it was sort of central to the original’s thesis. Sometimes they get these creepy black growths spreading all over their body and then they turn into ashes in yet another display of digital effects. And then more screaming, more jump scares, and an ending that sheds all of the quiet sadness of the original for an unnecessary monologue that just restates what we’re seeing with our own eyes. There’s no mood or atmosphere here, just a lot of yelling and musical stings to let us know when to be scared and pale, hairless figures screaming at people before doing special effects at them. It’s borderline-incoherent in the degree to which it just sort of seems like a bunch of cliches pulled out of a bag. Psychology gets some mostly-irrelevant lip service, there’s this weirdly antagonistic shrink who just sort of appears out of nowhere and harangues the protagonist, there’s a professor who talks about stalking and then isn’t seen again for most of the movie…until he gets killed, and there’s a lot of cyber-gibberish (“but I shut down the system!” “It doesn’t matter! THEY ARE THE SYSTEM!”). Pulse doesn’t feel like anything except a pointless racket.

Pulse is also a much more literal film than the original. In Kairo, computers weren’t really the point. It was a film about loneliness and alienation, and computers just facilitated that, a window into other lonely lives. Sure, there was some stuff about spirits spilling through into our world because their realm was full (a nice nod to “when there’s no more room in hell, the dead will walk the earth”), but like everything else in the film, it was never really fleshed out. It was cryptic and opaque, but there was enough internal consistency that it felt like nightmare logic, like there was a sense to be made if only we looked hard enough. In Pulse, computers are the entire point. Technology is slathered all over every frame, everyone constantly checking their cell phones (not even smartphones), “cyber”-this and “cyber”-that, hackers, every single bad internet cliché of the early 2000s jammed into the movie, and eventually, after a lot of wandering around getting scared (and the occasional borderline-pointless nightmare sequence shot in a style I can only describe as “aggressively desaturated”), it turns out that some telecom engineers delved too greedily and too deep and unleashed some kind of malevolent presence on our world. So no, it’s not the malaise of modern life, it’s these evil creatures that want to feed on our will to live. This is explained at length in a third-act infodump, though it’s far from the only time that we get told stuff that was already apparent to anyone paying the slightest bit of attention. Symbolism’s for the other guy, we’re going to make this as simple as possible because we have no faith in the intelligence of our audience.

Where Kairo was quiet, Pulse is loud. Obvious, hamfisted, devoid of mood or atmosphere, made up of a few segments lifted from Kairo absent any real context surrounded by 2000s-era mass-market horror film cliches. The original made sense as a piece of Japanese film. The loneliness of modern urban life, increasing isolation, black stains on the wall evoking the shadows of Hiroshima, restless spirits. All of these make sense in the context of Japanese history and culture. The remake grabs bits here and there, but disregards any of that context, and the results, besides being noisy and overwrought, also verge on nonsensical in places, mostly because they seem thrown into a different, more generic horror movie without regard for why they’re there. Really, the more I think about it, the more this seems like it was originally an unrelated movie about evil websites or evil cellphones or something, and they lifted two or three bits from Kairo to rebuild the movie around. It’s got almost nothing to do with the original, it’s not even in conversation with the original, it’s just a butchering of a much-better film.

IMDB entry for Kairo
IMDB entry for Pulse

Kairo on Amazon
Pulse on Tubi
Pulse on Amazon