Film Review 'The Handmaiden'

Film Review 'The Handmaiden'

The time is the japanese Occupation. Sook-hee (played byKim Tae-ri) is a street-level thief and con artist who like somebody else is solelylooking to get by. Opportunity arises in the sort of the Count (played byHa Jeong-woo) who wishes assistance as a section of an elaborate scheme to gain get correct of access to to the circle of relatives fortune of Hideko (played byKim Min-hee). All isn't equally information technology seems. Even supposing in the movies, when is it ever?

There are 3 distinct acts in "The Handmaiden". The primary is told from Sook-hee's point of view, the 2nd one Hideko's, and the third...well, I'm going to get to that later. Standpoint is the entire lot in "The Handmaiden". Whilst Sook-hee is the major character, we arelooking at a tale more or less the plucky woman from the streets willing to take any possibility for the sake of betterment of her life. As times is going by, this fate becomes increasingly more intwined with Hideko, a girl who lives unhappily in luxury.

Once the tale turns to Hideko's angle "The Handmaiden" gets markedly more weird. In mundane weirdness, it turns out Sook-hee had many scenes no longerdiscussedright through her element of the story that make the plucky girl appear more the objective than the con artist. Retrospectively this providesthe 1st act the sensation of being the story that Sook-hee tells other folksin order that she looks more heroic.

Advertisement Yet Hideko's more exotic weirdness involves...well, tentacle rape and the like. I more or lesswould like to assault "The Handmaiden" for being anti-Japanese through resorting to the old gross hentai attack, but the normal source subject material for "The Handmaiden" has Victorian England as a setting. Which in truth gets into all types ofappealingquestions on how the colonialist upper magnificenceinternational tended to descend into perversion most commonly because they did notmust do any precise work.

Such questions have a tendency to beinappropriate to "The Handmaiden", though, which for all useful intents and applicationsis simply a love story with an advanced framing structure. The 3rd act exists principallyto permit directorPark Chan-wookto remodelall of the contradictory story datanow we havenoticed into anything mostly coherent. But it isat all times the plot that has to be installedcomplete perspective. While "The Handmaiden" has all types of vaguely intriguing ideas simmering at the surface, none of them trulyfinally finish upwhich meansa complete lot upon closer analysis.

Even calling the film an erotic mystery is giving the story a little too much credit. There isnow notactually all that much sex and an specific bespeak is made about how words and photographsby myselfcan also be a more robust stimulant than the genuine thing. I mean, shoot, take a glance at outKim Min-heein that adorable kimono. The manor grounds too prove a slightly impressive backdrop.

The visual design of "The Handmaiden" is itself borderline pornographic- which makes the motion picturebeautifulnot possible to dislike. And I did like it. My impartialresearch is chiefly a outcome of the film's narrative being impressive in presentation in position of depth. While that much most certainly prevents "The Handmaiden" from qualifying as actually great, I may beready to still state rather conveniently that it befairly good.