The Handmaiden
| The Handmaiden | |
|---|---|
 Theatrical release poster | |
| Hangul | |
| Revised Romanization | Agassi |
| Directed by | Park Chan-wook |
| Written by |
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| Based on | Fingersmith by Sarah Waters |
| Produced by |
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| Starring | |
| Cinematography | Chung Chung-hoon |
| Edited by |
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| Music by | Jo Yeong-wook |
Production companies |
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| Distributed by | CJ Entertainment |
Release dates |
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Running time | 144 minutes[1] |
| Country | South Korea |
| Languages |
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| Budget | |
| Box office | US$38.6 million[3][4] |
The Handmaiden (Korean: 아가씨; RR: Agassi; lit. '"Lady"') is a 2016 South Korean historical psychological thriller film directed, co-written and co-produced by Park Chan-Wook and starring Kim Min-hee, Kim Tae-ri, Ha Jung-woo and Cho Jin-woong. It is inspired by the 2002 novel Fingersmith by Welsh writer Sarah Waters, with the setting changed from Victorian era Britain to Korea under Japanese colonial rule.
The Handmaiden was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival. It was released in South Korea on 1 June 2016, to widespread critical acclaim praising above all its direction, screenplay, score, cinematography and performances, and grossed over US$38 million worldwide. At the 71st British Academy Film Awards, the film won the category of Best Film Not in the English Language. The movie made up to various list of top 10 year's best of 2016 and since then it has been regarded as Chan-Wook's finest works since Oldboy (2003), one of the best films of 2016, of the 2010s and one of the greatest movies of South Korean cinema.
Plot[edit]
Part 1[edit]
In Japanese-occupied Korea, a con man operating under the sobriquet of "Count Fujiwara" plans to seduce a Japanese heiress named Lady Hideko, then marry her and commit her to an asylum to steal her inheritance. He hires a pickpocket named Sook-hee to become Hideko's maid and encourage Hideko to marry him.
Hideko lives with her Uncle Kouzuki, a Korean man who helped the Japanese take over his country in exchange for a gold mine. Kouzuki then uses this wealth to feed his obsession with rare books, selling forgeries to accumulate further money and books. Sook-hee's main job is to help Hideko prepare to read for Kouzuki's guests. Returning frustrated from a reading, Hideko demands Sook-hee sleep next to her. The two end up making love, under the pretext of preparing Hideko for her married life with the Count. Sook-hee begins expressing reluctance about the plan, but when Hideko herself suggests she loves someone other than the Count, Sook-hee insists on the marriage. Hideko slaps her and violently throws her out of the room.
When Kouzuki leaves on business for a week, Hideko and Fujiwara elope. After cashing out Hideko's inheritance, it is revealed that Hideko's naïveté was part of the con. She and Fujiwara double-crossed Sook-hee and convinced the asylum that she was the "Countess" to have her committed in Hideko's stead.
Part 2[edit]
A series of flashbacks show that Hideko's "reading practice" was Kouzuki teaching her to erotically read sadistic pornography since she was five years old. The flashbacks show a regimen of psychological and physical abuse that gradually degrades the sanity of Hideko's aunt, who is eventually found hanging from a tree in the yard, and so Hideko takes over as the reader for the auctions. When Hideko questions the description of hanging in a book she has to read, Kouzuki tells her that he murdered her aunt using torture devices in the basement after she attempted to run away.
In the more recent past, the Count realizes seducing Hideko would be impossible and instead includes her in the plan to elope and then split her inheritance. When Hideko expresses her fear of her uncle, the Count bribes her with a vial of opium with which to commit suicide so that she can never be taken to the basement alive, calling it a "wedding present". Hideko demands the Count find her a girl to hire as a maid, to commit to an asylum in Hideko's place.
While being instructed by the Count, who takes advantage of Sook-hee's illiteracy, Hideko unexpectedly falls in love with her. Hideko tries to confess her love, but when Sook-hee insists the marriage go forward, Hideko throws her out of the bedroom and then tries to hang herself. Sook-hee saves her, and both admit to their plots. Hideko helps Sook-hee write a letter to her family to say she has teamed up with Hideko, asking for their help in carrying out a plot to get Hideko and Sook-hee away from the men who have been manipulating them. Hideko shows Sook-hee the books she was forced to read, and Sook-hee begins destroying the library. Hideko calls Sook-hee "her savior" and joins in destroying her uncle's collection.
Part 3[edit]
After leaving Sook-hee at the asylum, Fujiwara and Hideko eat together at a high-class hotel, where he tells her of his past and asks her to marry him again, this time as Sook-hee, as they have switched identities. He also reveals that Sook-hee will be dead within a few days, causing Hideko to question Fujiwara's desires. Sook-hee's friend Bok-soon sets a fire at the asylum and poses as a firefighter to rescue her. In the pretense of re-creating their wedding night Fujiwara attempts to rape Hideko, however he is rendered unconscious after drinking wine that Hideko earlier dosed with drops from the opium vial. This allows Hideko to leave with her money. The women reunite and flee together, disguising Hideko as a man to avoid detection.
Kouzuki captures Fujiwara after receiving a letter from Hideko detailing Fujiwara's deception. He tortures Fujiwara in his cellar with his collection of antique bookmaking tools and presses him for sexual details about his niece. Fujiwara makes up a story about making love on their wedding night, while a flashback shows that he watched Hideko masturbate before cutting her hand with a knife to stain her sheets with blood, refusing to consummate the marriage. When Kouzuki presses for more details, Fujiwara convinces him to give him one of his cigarettes, after which he disgustedly refuses to give further details. Kouzuki notices the cigarettes are producing blue smoke, and Fujiwara reveals that his cigarettes are laced with mercury, and the toxic gas in the smoke kills them both.
On a ferry to Shanghai, China, Sook-hee and Hideko celebrate their newfound freedom by making love once again.
Cast[edit]
- Kim Min-hee as Lady / Izumi Hideko
- Kim Tae-ri as Maid / Nam Sook-hee
- Ha Jung-woo as Count Fujiwara
- Cho Jin-woong as Uncle Kouzuki
- Kim Hae-sook as Madame Sasaki
- Moon So-ri as Hideko's aunt
- Lee Yong-nyeo as Bok-soon
- Lee Dong-hwi as Goo-gai
- Jo Eun-hyung as young Hideko
- Rina Takagi as Hideko's mother
- Han Hannah as Junko
- Lee Ji-ha as Owner of Ryokan
- Jeong Ha-dam as Housemaid
- Choi Byung-mo as Audience member
Production[edit]
In December 2014, it was reported that Kim Min-hee, Kim Tae-ri, Ha Jung-woo and Cho Jin-woong signed on for the film.[5] Kim Tae-ri was selected from 1,500 candidates to play the role.[6] Shooting for the film began in June 2015 and concluded in October 2015.[7][8]
The books The Dream of the Fisherman's Wife and Jin Ping Mei were featured in the film.[9]
Locations[edit]
The film was shot in both Japan and Korea. Kouzuki's mansion with combined elements of Japanese and British architecture was filmed in Kuwana in Mie prefecture in Japan, using the exterior of the Moroto Seiroku Mansion and CGI to augment exterior details.[10] Known as Rokkaen (Japanese: 六華苑), it was designed by British architect Josiah Conder and built in 1913.[11] The interior of the library and the staircase leading to Hideko's bedroom were built as interior sets. The cherry tree from which Hideko's aunt is found hanged was in the gardens of the hospital on Sorok Island in Jeolla, South Korea.
Release[edit]
In February 2016, CJ Entertainment announced that The Handmaiden was pre-sold to 116 countries, including to Amazon Studios for the US.[12] The film premiered in competition at the 2016 Cannes Film Festival, where it received a standing ovation, and Ryu Seong-hee won the Vulcan Award of the Technical Artist for her art direction work on the film.[13][14][15] The film was also screened in the Special Presentations section of the 2016 Toronto International Film Festival, where The Playlist named it as one of the 15 best films of the festival.[16] In South Korea, the film was released on 1 June 2016 and sold more than 4 million tickets.[17][18][19]
In the United States, the distribution of the film was handled by Amazon Studios and Magnolia Pictures. The film opened in limited release across five cinemas in New York City and Los Angeles,[20][21] and played in 140 additional cinemas in the following weeks.[22] Eventually, the film grossed more than US$2 million in the United States theatrically;[23] the film outgrossed Stoker and became the highest-grossing Park Chan-wook-directed film in the United States.[24] It was released on DVD in the US on 24 January 2017 and Blu-ray on 28 March 2017.[25][26]
In the United Kingdom, the distribution of the film was handled by Amazon Studios and Curzon Artificial Eye. The film grossed more than US$1.8 million in the United Kingdom theatrically, and became the highest-grossing foreign-language film in the UK in 2017.[27]
The original theatrical cut of the film runs 144 minutes. An extended cut, running 168 minutes, was later given a limited theatrical release in the UK and has also been released on home video in some international markets.[28]
Home media[edit]
In the United Kingdom, it was 2017's fifth best-selling foreign language film on home video, and the year's third best-selling Korean film (behind Operation Chromite and Train to Busan).[29]
Reception[edit]
Critical response[edit]
The Handmaiden received critical acclaim. On Rotten Tomatoes, the film has an approval rating of 96%, based on 225 reviews, and an average score of 8.3/10. The site's critical consensus reads, "The Handmaiden uses a Victorian crime novel as the loose inspiration for another visually sumptuous and absorbingly idiosyncratic outing from director Park Chan-wook."[30] On Metacritic, the film holds a weighted average score of 85 out of 100, based on 40 reviews, indicating "universal acclaim".[31] The Economist described the film as a masterpiece.[9] Benjamin Lee of The Guardian ranked it four out of five stars and described it as "a hugely entertaining thriller".[32]
The film's numerous sexually explicit scenes between the two main female characters were criticized by Laura Miller at Slate, who described the scenes as "disappointingly boilerplate" and featuring "visual clichés of pornographic lesbianism, [the actresses'] bodies offered up for the camera's delectation."[33] Likewise, Kathleen Stock, speaking on The Lesbian Project Podcast, called it a "male parody of a lesbian relationship...it got more and more ridiculous, the kind of sex they were having."[34]
However, The New Yorker's Jia Tolentino said that "the women know what they look like, it seems—they are consciously performing for each other—and Park is deft at extracting the particular sense of silly freedom that can be found in enacting a sexual cliché."[35]
Listicles[edit]
The Handmaiden was listed on numerous critics' top ten lists.[36]
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