Maverick Korean
filmmaker Park Chan-wook’s movies have always been about unhinged outsiders –
be it men (Sympathy for Mr. Vengeance,
Oldboy, Cut) or women (Lady Vengeance,
I’m A Cyborg but that’s Ok, Stoker) – who operate outside the
conventional social dynamics, and invariably end up instigating violent, even
operatic, chain reactions. In a fabulous continuation of that thematic trend in
his filmography, The Handmaiden is a
lush, gorgeously mounted, deliciously twisted and gloriously unpredictable tale
with a script that progressively upped its delirious idiosyncrasy like a
sumptuous orchestra; it also had Park’s quintessential signature all over in
his penchant for gallows humour, shocking violence and outré in general.
Adapted from the novel Fingersmith,
but the setting transplanted from Victorian-era Britain to colonial-era Japanese-occupied
Korea, the film also bristles with subversive political and stirring feminist subtexts,
which made this more than just a thriller. The intricately structured gothic
tale – where one sees moments from Chapter 1 in a diametrically different light
in Chapter 2, before hell starts breaking loose in Chapter 3 – covers the
scintillating relationship between the seemingly placid and immensely wealthy
heiress Hideko (Kim Min-hee), a closet femme fatale whose life is controlled by
her tyrannical japanophile uncle (Cho Jin-woong) whose grotesque perversions
know no bounds, and the sassy Sook-hee (Kim Tae-ri), an attractive pickpocket
hired by a conman (Ha Jung-woo) to masquerade as Hideko’s maid. The compelling
tale of devious one-upmanship and forbidden romance between these two
brilliantly etched and marvelously enacted women, in a rigidly patriarchal
social construct, was complemented by elaborately designed set-pieces and
sumptuous camera work. The hideous octopus, by the way, gleefully referenced
the notorious octopus eating sequence in Oldboy.
Director: Park Chan-wook
Genre: Thriller/Psychological Thriller/Romance
Language: Korean/Japanese
Country: South Korea
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