I had high hopes for The Wig, after-all, South Korean horror is often as entertaining as it is spooky. It is true, this particular feature does have a number of great jump scares, for we are rarely able to predict what we are soon to encounter, and though the title may influence viewers to suspect the malevolent presence is tied directly to a collection of hair, this isn't always the case. Seeing the wig moving on its own accord, though peculiar, offers a further layer of disturbance, the film's opening setting the tone for both the oddness of the film, and the spontaneity of the spooky moments. Though very character oriented, and despite the adept acting talents of the leads, what unfortunately forbids The Wig from being comparatively great to other genre films, is the narrative.
The lacking chronological order is not what nefariously affects the film so much, as it is the handling. Rarely is warning given when a precursor to the film's back-story is shown, and initially I experienced difficulty trying to ascertain where the past concluded and the present began. Moreover, on many an occasion, prior events occur in quick flashes that neither assist in developing or contextualizing characters and the plot, significantly more depth being needed to accentuate these pivotal explanations.
This aside, the audience is able to exhibit an emotional reaction towards the two female leads, who are equally sympathetic characters, themes of hardship, infidelity and betrayal heightening our feelings. Ji-Hyun (Yoo-Sun) is a young woman, who, after a traumatic accident, suffers considerably, her heartless former paramour Ki-Suk (Bang Joong-Hyun) regarding her with considerable disdain. Though emotionally fragile, and largely alone, Ji-Hyun dedicates much of her strength to helping her recently discharged sister, Soo-Hyun (Chae Min-Seo), who, despite chemotherapy, is inevitably on the verge of losing her battle with leukemia.
To help ensure her sister's final week is spent in happiness, Ji-Hyun purchases her a wig, the originally sickly Soo-Hyun immediately exhibiting a positive physical transformation, alongside the admittance she feels remarkably better. However, Soo-Hyun's initially sweet, familial personality begins to adversely change, the vindictive, possessive persona that begins manifesting itself being tied to the apparition, whose hair was used in the construction of the wig.
Though the ambiance throughout the feature efficaciously coincides with the genre, one of the film's scariest moments is when Ji-Hyun's search for answers leads her to the abandoned factory where the wig was made, the shadowy corners, body-less heads of mannequins, and large quantities of jet black hair, making for a genuinely unique and creepy environment. The unsettling atmosphere however is marred by plot-holes. Towards the end, without explanation, characters are miraculously transferred from one location to another, while the inclusion of repetitive scenarios takes away from the originality and entertainment. Though there are some violent images, a couple of which employing a significant amount of blood, the feature also possesses mature themes, including suicide and homosexuality, these potent social ideas being refused the generous screen-time they deserved.
Finally, the film's ending is guaranteed to shock, heightening the feature's capacity to emotionally draw viewer's into the story, though the still lacking answers from the remainder of the film, alongside unanswered questions instigated by the conclusion, will undoubtedly leave viewers with a desire for more.
The lacking chronological order is not what nefariously affects the film so much, as it is the handling. Rarely is warning given when a precursor to the film's back-story is shown, and initially I experienced difficulty trying to ascertain where the past concluded and the present began. Moreover, on many an occasion, prior events occur in quick flashes that neither assist in developing or contextualizing characters and the plot, significantly more depth being needed to accentuate these pivotal explanations.
This aside, the audience is able to exhibit an emotional reaction towards the two female leads, who are equally sympathetic characters, themes of hardship, infidelity and betrayal heightening our feelings. Ji-Hyun (Yoo-Sun) is a young woman, who, after a traumatic accident, suffers considerably, her heartless former paramour Ki-Suk (Bang Joong-Hyun) regarding her with considerable disdain. Though emotionally fragile, and largely alone, Ji-Hyun dedicates much of her strength to helping her recently discharged sister, Soo-Hyun (Chae Min-Seo), who, despite chemotherapy, is inevitably on the verge of losing her battle with leukemia.
To help ensure her sister's final week is spent in happiness, Ji-Hyun purchases her a wig, the originally sickly Soo-Hyun immediately exhibiting a positive physical transformation, alongside the admittance she feels remarkably better. However, Soo-Hyun's initially sweet, familial personality begins to adversely change, the vindictive, possessive persona that begins manifesting itself being tied to the apparition, whose hair was used in the construction of the wig.
Though the ambiance throughout the feature efficaciously coincides with the genre, one of the film's scariest moments is when Ji-Hyun's search for answers leads her to the abandoned factory where the wig was made, the shadowy corners, body-less heads of mannequins, and large quantities of jet black hair, making for a genuinely unique and creepy environment. The unsettling atmosphere however is marred by plot-holes. Towards the end, without explanation, characters are miraculously transferred from one location to another, while the inclusion of repetitive scenarios takes away from the originality and entertainment. Though there are some violent images, a couple of which employing a significant amount of blood, the feature also possesses mature themes, including suicide and homosexuality, these potent social ideas being refused the generous screen-time they deserved.
Finally, the film's ending is guaranteed to shock, heightening the feature's capacity to emotionally draw viewer's into the story, though the still lacking answers from the remainder of the film, alongside unanswered questions instigated by the conclusion, will undoubtedly leave viewers with a desire for more.