Park’s recurrent themes are prevalent here as well as sadism, deceit, violence, sex, revenge and freedom intertwine, by weaving a thrilling and sensual tale of dramatic proportions.
For weeks I’ve been passing by the film’s poster and each time it caught my eye! I was curious but I remained stubbornly away from trailers and reviews until I finally visited the theatre this evening. I needed a genuine thrill for a change but as the Rolling Stones wisely mark, you can’t always get what you want….
I might not have had the most intense experience but I liked the film as a whole. It was engaging for the most part thanks to the stirring narrative and the surprising twists and revelations. The visual art of its photography, the aesthetically masterful shots and the purposefully created costumes are some of the strongest elements of The Handmaiden. The film is a psychological thriller with a sufficient character study and sparkling sensuality. The photography is amazing by praising landscapes and interiors and by indulging us with portraits and aesthetic sexual frames.
Although, I recognise that The Handmaiden is an artful creation I did not achieve immersion into the story, or identification with any of the characters. As a result, the end arrives and despite the classic conclusion where ”the good prevail, the evil are shattered”, I am not experiencing catharsis or satisfaction (with the exception of the destructive activities that take place in the library).
The acting style adopted in the film matched inappropriately overtone facial expressions with scenes that would have benefited of strict focus on sensuality and sexual tension. As a matter of fact, I believe the last sex scenes (that also happen to last the longest) did not add to the story or the character study. The film is ultimately sweet and romantic with scenes that spur laughter in the place of tension and focus, interrupting transportation into the narrative and disconnecting the senses.
In contrast, I particularly enjoyed Hideko’s (the lady’s) theatrical readings of Marquis de Sade’s works. Her performance is spotless, stunning and gripping. Also, the bathtub scene where Sook-hee employs her amateur dentistry knowledge to smooth her lady’s tooth provokes titillation and excitement far more than the more graphic scenes that the protagonists share throughout the film.
Finally, the way Park chooses to deliver the story is brilliant and the three-part storytelling reveals the different perspectives and inner instincts of our two heroines (1. the handmaiden’s, 2. the lady’s, 3. the story’s epilogue). The first two parts consist of repetitions that enhance the cinematic experience instead of tiring viewers (an arguably rare thing!) as moments are revisited from different angles and previously concealed facts are revealed.
After having watched The Handmaiden don’t be surprised if you want to wear colourful gloves, have sex, visit South Korea, read a chapter from one of Sade’s scripts, or if you happen to have a nightmare about wet, dark basements and gigantic octopuses.