Ghost (2010)

It is almost an identical remake of the movie Ghost (1990) starring Demi Moore and Patrick Swayze.Certain things were changed around. The most significant is switching the man/woman role. It is probably more acceptable in the Japanese culture for a woman ghost to appear helpless than a man ghost.There are some very cheesy scenes in the movie. It is unbelievably quickly for the two to fall in love even though they have nothing in common.My main complain is the male actor who played Juno. He seems to have a hard time expressing sadness. I cringe when I see him try to cry.As for the plot, it's more or less the same as the US version, down to the theme song.

I was surprised to find that I enjoyed this Japanese remake of Ghost even more than the original Hollywood version. One of the problems with the original is that it could never quite decide what genre it wanted to be. Most people think of Ghost as a romance; however, since Patrick Swayze and Demi Moore's characters were already an established couple, just moving in together at the film's start, there wasn't a tremendous amount of romance in their relationship, despite the famous pottery scene. The villains were dark enough to suggest this movie really wanted to be a thriller, complete with a high-stakes heist. Whoopi Goldberg's performance as the con artist-turned-real psychic was hilarious enough to garner her an Oscar, yet her over-the-top comedy completely broke the mood. By shoving together the elements of a romance, thriller, and comedy in ways that grated against, rather than complemented each other, the final product was a confused muddle.The remake falls much more solidly into the romance category, starting when the couple first meets. There is a gender reversal from the original; Nanami is the high-powered businesswoman, Juno the sensitive male potter, and it works well, providing a more modern feel. We get to see them fall in love, and watch as the unique moments they share – which will later become "tells" for Nanami as a ghost – are created. This makes these moments much more powerful for the audience and enhances the emotional punch of the couple's separation and longing for each other. While the Japanese version showed more restraint with the love scene (staying at a PG rating rather than the PG-13 of the American version), don't mistake modesty for lack of passion. The pottery scene in this one is every bit as affecting as the original, and far more tender.Several other changes help minimize distraction from the romance. The original version showed Swayze being reluctantly mentored by an unhinged spirit from the subway whose violence was senseless and disjointed from the rest of the film. The Japanese version uses a small child Nanami meets in the hospital; not only is this more logical, this character also ties in beautifully with Juno's decision in the climax of the film. The psychic is still eccentric and amusing, but she never steals the show away from the leads. Also the fate of the missing funds in the American version is dropped completely, replaced with a dramatic conclusion that provides much more emotional resonance. I found this version of Ghost to be more enchanting and satisfying overall than the original, so it's one film that I'm glad they remade!

I won't pretend Ghost is great film worthy of the Criterion collection, but what it does deliver is exactly what's on the tin: a story about two people (well, one ghost) in love. Nanami and Juno make a ridiculously adorable pair: one high-flying industry exec who's been burned a few times but still giddy about the handsome young oppa, and one quiet, industrious potter who's great with kids and head-over-heels for the beautiful (but slightly lonely) neechan.I thought their teasing, familiar relationship was incredibly sweet, and their chemistry also carries the movie -- there's no stolid guy who can't ever convey his feelings, and even when Nanami has trouble telling Juno she loves him, she manages to do so in a way that clearly establishes her as someone who's afraid to lose what she has, rather than someone being cynical or flippant. And when Nanami dies, there is a great deal of grieving on both sides. So yeah, if you're in the market for slightly silly but sweet romance with a side of cute kids and characters dealing with loss, check this movie out. And try not to laugh when Unchained Melody comes on and adds an extra layer of K-drama cheese.

The first question to pop into mind is, is there a necessity to remake Jerry Zucker's Ghost, which starred Demi Moore and the late Patrick Swayze, setting the box office ablaze to the tune of half a billion dollars worldwide, propelling clay pottery into the stratosphere of sensuousness boosted by Unchained Melody. It's the image that comes to mind when one remembers this film, and it's a tremendous hard act to beat for any remake. One may think that the Japanese may fuse their own romantic sensibilities into this one, but the end result is sucking all romanticism out of it, and becoming the parody that Zucker is also famed for.Narratively it's almost the same as the Hollywood version, with young CEO Nanami (Nanako Matsushima) falling in love with Korean potter Jun-Ho (Song Seung-Heon) and having their romance cut short when one of them has to depart from this world because of a crime committed that was disguised like a petty theft, only for the story to unravel itself and provide that more than meets the eye touch, with the plot thickened to include a threat to the life of the still living partner. And to bridge between the lovers, they communicate via hack medium Unten (Kirin Kiri) who provides comic relief as the proxy between the two worlds since she's the only party who can hear the undead. And she's the best part of the movie.So what went wrong? Well, everything unfortunately. There's a distinct lack of chemistry between the two leads, and their romance was very forced, like fitting square pegs to round holes. The direction by Taro Otani also came up short, and the alarm bells rang out when he allowed Nanami to give Jun-Ho a slap thinking that he had seduced her into a one night stand, but that slap was a meek, laughable brush of the cheek, with Jun-Ho reacting like a good one had been smacked right across his face. Making things worse, having a whiny male also made it unbearable, with Jun-Ho lamenting why Nanami refuses to say those three words that he spouts so freely. To think it's usually the other way round.One of the highlights of the Hollywood film is, for its time, the painstaking level of detail gone into making Swayze's character ghostly, and that means removing every frame of shadow and reflection because well, spirits don't have them. Here, you can detect attempts to do something similar, but not as meticulous, which is a pity, though the effects of passing through humans and walls were still nicely done. Like a typical Japanese film, there must be Kawaii moments and this come courtesy of a ghostly, friendly child almost like Casper in manner, to milk some expired emotions in the last act when you know the two main leads cannot deliver at the emotional level.To make matters worse, the romance here was cold and void of feelings. The bed scene made Mediacorp attempts look like vulgar hardcore porn, and Unchained Melody was covered by a really weak rendition, coming on at such a wrong time that demonstrated impotency at delivering when it mattered. This remake is ghastly cold, and tried too hard to evoke a sense of sincere warmth that usually comes automatically with the territory of the genre. If you want to watch Ghost, then watch the original Hollywood version as this remake pales in comparison, offering nothing new nor matching up to the bar already set.