The Handmaiden

I knew nothing about this film coming into it, other that it being very well considered, and that it has some strong sexual content. This is probably the best way to watch it, as I did not know where the plot was going to start or go. Essentially a con man plans to seduce, marry, and abandon a wealthy unmarried woman – taking her from her uncle and then taking her money. To do this he employs the services of a young pickpocket to work as her handmaiden, and help work the plan from the inside, so to speak.

What the film does with this basic plot is enjoyable and engaging. The narrative is solid, holds the interest without effort, and is very well paced and structured. I wonder would it work as well if I had known the source material, or had more knowledge of the wider plot. As a con, the plot is solidly enjoyable and avoids the silly flamboyance of some films where such a plot would be allowed to turn into a 'caper'. Within the plot are some surprisingly sexual elements, and these sit across the sweet, the sensual, and the dark. There is also a good amount of humor where it matters – in particular in part 1 of the film, this is used well in relation to the main character.

The direction, production values, and general pacing of the film, all work together to give it a beautiful appearance and tone. It is quite sensuous to watch, with such great colors, sets, costumes, and designs. Within this the actors are all strong. Min-hee Kim and Tae- ri Kim in particular are engaging, although the downside of me being into their characters/performances was that it made the heavy nudity in some of their extended scenes feel a bit exploitative in nature. Jung-woo Ha is solid throughout, and Jin-woong Jo is just the right level of monster for the plot to work.

A richly enjoyable film, that sits across so many elements and looks so good that it keeps the plot engaging throughout.

Sex. One of the most overused element in cinema and often mis-used and unnecessary. I was concerned when this movie is announced, a mis-used sex scene could make the movie feels cheap.

This movie did manage to get it quite right.There were scenes of sexual attractions in many parts of the movie but it did not take away all other elements that were done well in the movie.

Thematically beautiful, the mansion itself is split half between a western and Japanese. The costume design and cinematography are perfect. The west : grand and luxury; The Japanese : Clean, simple elegant design.

The story can be summed up as a hero saving a princess and is split into 3 parts. I loved the first two parts, the third part was the only disappointing part where the plot was predictable and not as interesting and it being the last part makes the movie fell short.

The music is perfect. Just like Old Boy, music is more crucial than other movies. Old Boy is a movie that would make you think of a modernized hero revenge movie that is both realistic and unbelievable. The music have strong presence to help build up that world. Same goes with this movie as it is also a very realistic setting (you know the period of time it is based upon, the characters motives are clear and their actions are) yet with some very unbelievable events when you add everything together.

It isn't a perfect movie, I saw some editing that could be improved here and there. The last part was also a small disappointment for myself. But it is a damn unique movie that you have to watch.

The controversial film from Korean master Chan-wook Park evokes the sexiness of Abdellatif Kechiche's "Blue is the Warmest Colour" and Park's own signature violence and thrills. Set in the 1930s Japanese occupied Korea, it's a story of a young female pickpocket (Kim Tae-ri) who becomes a handmaiden to a beautiful Japanese heiress (Min-hee Kim). However, she must manage to convince the heiress to marry a conman (Jung-woo Ha) who poses as a count, for which she will get a chance for a better life. She gets into a moral dilemma when she starts developing feelings for the heiress.

The Handmaiden is a triumph on every level. The film is divided into three chapters, all giving different perspective. This way, the story is perfectly structured to give more and more insight as the film progresses, but at the same time, keep the viewers guessing. It offers a few surprises along the way as well. Visually, it's a feast for the eyes. The term "every frame a painting" gets overused, but it really fits here. I'm not only talking about cinematography, which offered plenty of memorable shots and beautiful scenery, but the costume and set design. The three leads all gave terrific performances. Musical score by Yeong-wook evokes, or better said, amplifies the emotions and the suspenseful tone. Despite the run time of 2 hours and 24 minutes, it never gets dull, it's very evenly paced throughout. I couldn't look away for a second.

One thing needs to be addressed, the film is quite explicit. That being said, it never gets vulgar, the sex scenes are done in perfect taste, they never feel out of place and they're not there just for the sake of it. The relationship between the characters and the physical presentation of it are integral to the film. It's a film about passion, abuse, jealousy, betrayal and deception, but most of all, it's an atypical love story, which will make one love and hate the protagonists at the same time. It's original and daring work of art that will stick with viewers long after it's finished.

Whenever Chan-wook Park makes a film, it must undoubtedly be compared to his masterpiece, "Oldboy". I don't think that "The Handmaiden" surpasses it, but it comes very close. With this film, he proved himself to be one of the greatest working directors today. It's the best film I've seen this year, one that I can't wait to revisit. It's not to be missed.

The Handmaiden is a film that unfolds with a classic film stylist (in particular I felt like Chanwook Park was in a kind of Brian De Palma mode as far as making an erotic dramatic-thriller with a camera that luxuriates in long shots, elaborate camera movements, and cinematic grammar that emphasizes operatic intentions, though it's maybe not the first time he's done this anyway), and is LOADED with story. What appears to be the story of a handmaiden who is put in as part of a long con by a man who wants to steal this wealthy woman's money is actually a story about storytelling, about weaving a pack of lies and an entire personality and, in reality, how that can start to crack apart when it comes to seeing humanity in another person and their vulnerabilities.

There's a lot going on in this movie, and there is a lot that is... sordid and over the top in its sexuality. That's intentional, I'm sure, and Park never coddles his audience with what he's showing as far as sexuality; the two main women of the film, the handmaiden and her master/mistress or what have you, end up having an emotional connection and this leads to a sexual one. This has the most graphic lesbian sexuality on screen since Blue is the Warmest Color, but here the rawness is matched by the elegance of Park's direction, and while you get to see much of it, only some of it (but there *is* some) that is gratuitous. Otherwise, this is a story of backstabbing and betrayal, but all of it leading up to being in the larger sense about how people fit in to the circumstances they are in, how they have to not simply play but BECOME the characters they're playing - and how these images flip based on perceptions and how we see the scenes.

Here's where I may become less articulate in my criticism: the film is in three parts, and I forgot about there being 'parts' as I was so into the film during its first part. There is a major betrayal, but then the movie goes into a 'Part 2', and it turns into a different story... a VERY different kind of story, and it is one that left me confused at first, left adrift, and only Park's direction kept me afloat. As Part 2 went on I got into the movie more, though you have to be prepared for scenes from part 1 being repeated - and whether this becomes tedious will vary depending on the viewer. Nothing is ever not gorgeous to look at, and Park is inspired by paintings and art in the real world, and it's completely sumptuous (I'd be rooting for this to win all the costume/production design awards come February), but there comes a point where the filmmakers are showing the 'here's what happened this scene' moments a little too much. I won't reveal why this is done except to say that the characters take on other roles we didn't expect, and their decisions and how they hide parts of their personalities makes for fascinating viewing. Some times.

And then it gets to part 3, and the movie goes into being sordid melodrama and not much more. By this time, the filmmakers have to wrap the story up, and show what this man who has been trying to machinate everything for his own ends is met with a nasty fate. Overall there's so much about The Handmaiden to admire, from the performances by Min-hee Kim as Lady Hideko (appearing in part 1 as varieties of cold and distant and then close and warm and terrified in the other parts), Tae-ri Kim (Sookie, who has much to learn about the art of performance, I mean her character not the actress, she's great), and Jung-woo Ha as the 'Count' who has to remain in control for the whole runtime, but gives in to his passions too. And yet I also wonder if a first viewing trying to explain everything how I felt doesn't do the film justice: it moves slower and more languidly than other Park films, so it took longer to get in to, and the themes of conning and performance may be done stronger in any given Quentin Tarantino film (though here done with more taste and intense sexuality - i.e. the scene with the thimball on the tooth).

Another viewing may give more, or less. I can tell you now it's worth seeing if you love pure CINEMA, the likes of which get made by directors with a passion for the form and expressing stories of early 20th century sexual excess and emotional f***ed-up ness (it is early 20th century Korea with a major Japanese influence - in that way it'd make a solid double feature with Kim Jee-Woon's Age of Shadows). As for whether it's a great film, I'm not so sure.

Park Chan-Wook explores the power of narrative (the way you tell a story and its ramifications), creating another astounding visual spectacle full of dark humor, sexual desire, betrayal and revenge, with intense performances and a wonderful production design, editing and score.