DARK WATER

US, 2005, 105 minutes, Colour.
Jennifer Connolly, John C. Reilly, Tim Roth, Dougray Scott, Ariel Gade.
Directed by Walter Salles.

Enough to give a highbrow critic a heart attack!! What is renowned director Walter Salles (Central Station, Motorcycle Diaries) doing directing a Hollywood studio film? And what is he doing a remake of a Japanese film? And what is he doing making a ghost and horror story. These are the kinds of questions asked by critics who think that a director is ‘selling out’ doing this kind of thing (when they are writing themselves in popular tabloids). Having got that out of the way, what about the film itself?!

It’s pretty good. For those who saw the original Japanese thriller (from the same director as The Ring films), it is interesting to see how the screenplay makes the transition from Japan to Rooseveld Island in a very rain-sodden New York City. For that even larger group who have not seen the original, it will be an eerie pleasure to watch Dark Water. It is scary, not in the sense that you jump or sit at the edge of your seat all the time, but rather in that the film creates its atmosphere of mystery and uncertainty and sustains it right through – without benefit or distraction of any blood, gore or grizzly action.

Walter Salles has declared his interest in genre films which he enjoyed when he was a boy. He also remarks that ghost stories are intrinsically interesting because anyone who believes in ghosts is admitting that they do acknowledge that everything does not end with the grave but that there must be some kind of existence, some life after death. This is part of what William Wordsworth called ‘intimations of immortality’. Salles has brought his non-US sensitivity to the story and his hjgh quality craft to ensure that this is a good-looking production.

The focus of the film is a woman (Dahlia) whose mother neglected her as a child and who, by contrast, loves and is protective of her daughter (Ceci - Cecilia). Even if the film was not a thriller, it would be a successfully strong drama of the bonds between mothers and daughters. The two take an apartment in a run-down block only to find leaks and stains in the roof, strange noises above and a story of a missing girl who may be with either of her separated parents.

Ceci goes to the local school but is increasingly caught up with her imaginary friend, Natasha. Meanwhile, Dahlia is having to cope with separation from her husband and the increasing puzzle of the apartment and its plumbing disasters. Finally, there is an explanation of what has been going on, but it takes us into the realm of ghosts, of mothers and of mother’s self-sacrifices for love of their daughters.

Jennifer Connolly is on screen almost the whole running time of the film. She is a strong and persuasive performer. The versatile John C.Reilly is very good as the seemingly genial but unreliable manager of the apartments. A British contingent of Tim Roth, Pete Postlethwaite and Dougray Scott complete the supporting cast as Dahlia’s lawyer, the handyman of the apartment and Dahlia’s angry husband.

1. The impact of the film in itself, drama, thriller, eerie ghost story? The comparisons with the original Japanese film? The paralleling of Japanese experience with American experience? The work of a non-American director, Brazilian and his perspectives on film-making, on filming an American story?

2. The popularity of ghost stories, the Japanese style with suggestion? Relying on audience beliefs in ghosts? The transition to the US, the lessening of belief in ghosts? The emphasis on a family drama leading to a ghost story? The importance of drama and atmosphere?

3. New York City, the skyline, the buildings, Manhattan, the Fifty-Ninth? Street Bridge, Roosevelt Island? A different neighbourhood, poorer, shabby? The streets? The school? The interiors of the apartment block, the reception area and its dinginess, the corridors and the lifts, the roof of the apartment, the roof of the block, the menacing cistern, the overall character of the apartment block and the apartment? The musical score?

4. The title, the place of water, characters drowning, the continual rain, the floods inside the building, water in the dreams, the cistern, the literal dark water and the flooding of the upstairs apartment? The reason for the dark water – and the death of Natasha?

5. The character of Dahlia, at home in Seattle, her mother not loving her, left at school, unloved? The effect on her, the visualising of the memories? Dahlia and her own daughter, her love and care for her, continued concern? Natasha, the growing preoccupation with her, the choice of having to love her or sacrifice Ceci? Dahlia’s ultimate self-sacrifice to protect Ceci and to protect Natasha?

6. The family situation, the ugly divorce, the bickering in front of the lawyers, Kyle and his relationships, his attitude towards Dahlia, the bitterness, the shouting? His settling in New Jersey, wanting custody of Ceci, blaming Dahlia, accusing her of incompetence and insanity?

7. Dahlia and Ceci, the effect of the divorce, their having to find a new apartment, going to Roosevelt Island, crossing the bridge, going to another world? Dahlia and her applying for the job, the assistant warning her not to settle into it but to find something better? Going to the apartment, the appointment, meeting Mr Murray, Ceci and her dislike – and then her change of mind?

8. The character of Mr Murray, smooth talk, the descriptions of the apartments, his persuasiveness, promising everything? Dahlia and her examining the apartment, being pressurised, deciding that she should get the apartment? Ceci, her reaction, not liking it, going onto the roof, Dahlia and her desperate search for her daughter, the corridors and the staircases? Finding her, Ceci changing her mind? Finding the schoolbag, the caretaker minding it, allowing her to have it in a week?

9. Mr Veeck, at reception, in his little room, sinister, manner of speaking, his work, the repairs, not sufficient, the surveillance cameras? The lift and trouble? The leaks? His attitude towards Murray, Murray telling him to do the work? His seeming unwillingness to give Ceci the bag? His knowing the story of Natasha?

10. Going to school, Ceci rehearsing meeting the class, Dahlia taking her, picking her up? The teachers and their kindness, the reputation of the school, their doing their best, Ceci introducing herself, at play in the school, the drawings – and her seeming to be possessed? Her invisible friend, confiding in her, the talk, sharing, at home, at school? Dahlia being late, the after-school supervision?

11. Ceci and her friend, denying the friend, in her room, sleep, talk? Dahlia and her concern, discussion with the teachers? Ceci’s behaviour? Dahlia and her growing anxiety, the noises from the above apartment, the water and the roof, the growing leak? Veeck’s explanation of the kids playing? Their going to the apartment, the flood and all the taps turned on? The overflow?

12. The teachers, the issue of Natasha? Kyle and Ceci going out with him, the discussions about Natasha? Kyle’s concern about them both? Ceci’s fainting, going to hospital, Kyle looking after her, Dahlia rushing to the hospital?

13. Dahlia, employing the lawyer, as a person, as a confidant? Their discussions, the apartment, the flood, his threatening Veeck and Murray?

14. Dahlia and her going to the roof, the cistern, knowing the truth about Natasha? The back-story about the family, the father and the mother both leaving, each thinking the girl was with the other, her death? The effect on Dahlia, on Ceci? The possibility of a reconciliation with Kyle and a happier future?

15. The bath sequence, Dahlia bathing Ceci, transforming into Natasha, Natasha’s hold over Dahlia, wanting protection? Her having two daughters, having to make the choice? Her own memories of the past, her possessing Natasha, Natasha dominating her? Dahlia’s choice, the death in the floodwaters?

16. The aftermath for Ceci and Kyle, their new life, the memories of Dahlia? Dahlia and her ghost reassuring Ceci?