After a thirteen-year imprisonment for the kidnap and murder of a six-year-old boy, Guem-Ja Lee seeks vengeance on the man truly responsible for the boy's death. With the help of fellow ... See full summary »
After India's father dies, her Uncle Charlie, who she never knew existed, comes to live with her and her unstable mother. She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.
1930s Korea, in the period of Japanese occupation, a new girl (Sookee) is hired as a handmaiden to a Japanese heiress (Hideko) who lives a secluded life on a large countryside estate with her domineering Uncle (Kouzuki). But the maid has a secret. She is a pickpocket recruited by a swindler posing as a Japanese Count to help him seduce the Lady to elope with him, rob her of her fortune, and lock her up in a madhouse. The plan seems to proceed according to plan until Sookee and Hideko discover some unexpected emotions. Written by
During the script writing stage, Director Park and his female co-writer Seo-kyeong Jeong often sought the advice of one of Chung's best friends, who was a queer woman, for advice on the sensibilities of queer women. See more »
In the hotel scene in Part Three, the Seiko Solar wristwatch Lady Hideko glances at was not introduced until the 1980s. See more »
What does a man really want?
What I mean is... the weeding night. How would I know? I grew up without a mother to teach me. I have no idea about any of this.
Probably kissing first?
Alright. Let's try to put her to sleep. So adorable. In a foreign country and without a mother. Alone in this giant mansion. Reading useless books. And learning nothing of value.
Why did the taste change? Sour and bitter. Within the bitterness changes to sweetness. Sweet ...
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Sublime cinema - like Hithcock with the extremity of Oldboy and the sexual candour of Blue is the Warmest Colour.
I consider Park Chan-Wook to be among the greats of cinema, alongside Scorsese, Tarantino, Fellini, Truffaut, Coppola, Tarkovsky and Nolan. So I had huge expectations going in, and boy, they were met.
TheHandmaiden is a masterpiece in pretty much every sense. It is visually exquisite, Costumes, production design, cinematography, music, all combine to create a lush vision of Japan-occupied Korea in the 1930s. Park Chan-Wook is a visually meticulous filmmaker and no film so far of his has showcased his knack for visual storytelling better than the Handmaiden. I went into this film totally blind, which I honestly recommend all people doing, because the plot itself unfolds in such a beautifully engineered fashion.
My best description of the film is a Rebecca-like Hitchcockian thriller with the extremity and depravity of films like Oldboy and Battle Royale, and the humanistic sexuality of Blue is the Warmest Colour. All actors are stunning in this film. The two women share an honest, tender romance that is both passionate and moving, with a refreshing candour about the nature of sexuality that is almost never seen in Hollywood productions. The Count is an incredibly charismatic performer who remains appealing despite his many despicable acts.
But as always with a Park Chan-Wook film, the real star is the director himself. The way in which this story is crafted is nothing short of engrossing. The outrageous, depraved, sexy, fascinating plot is crafted through multiple perspectives, dashing across back and forth in time, to masterfully reveal key plot points across a never less than spellbinding two hour run time. Some would say the film is slow, but I felt as though the extended running time worked in the film's favour, in order to build character to the extent that the finale for the film feels momentously epic, a real feat considering the movie showcases only four key characters.
I was utterly engrossed by this beautifully made film.
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