‘The Handmaiden’ is a cinematic masterpiece. Park Chan-wook (Oldboy, Thirst) is the most acclaimed filmmaker in South Korea and with good reason. His brilliant works are pure cinema. His latest has a surprising psychological plot that keeps you guessing from one scene to the next until its dazzling climax. Formerly a movie critic, Park masterfully interlaces themes of love, betrayal and revenge to paint a wonderfully expressionistic story. Based on Sarah Water’s 2002 novel ‘Fingersmith,’ the Victorian crime novel about a petty thief who gets entangled into a con game against a noblewoman is transformed into a tale dealing with the Japanese occupation of Korea in the 1930s. ‘The Handmaiden’ epitomizes Park’s stunning career and is a must-see for cinephiles.
The film opens when Sook-hee (Kim Tae-ri), a young pickpocket from an orphanage of girls is selected to be the new handmaiden to a Japanese heiress, Lady Hideko (Kim Min-hee). She is involved in an elaborate scheme by conman Count Fujiwara (Ha Jung-woo) to marry Hideko for her money. Sook-hee is placed there to help out with the deception and convince Hideko to marry the fake Count. It seems like a solid plan but things don’t go exactly as arranged which contorts the story into an intense psychological thriller. In the first chapter, Park allows you to get to know the main characters. Suddenly, alliances shift and relationships change. Reminiscent of the lesbian love scenes in ‘Blue is the Warmest Color,’ Park takes us into a forbidden romance between Hideko and Sook-hee.
The story is told in three chapters. Once it heads into chapter two, the plot takes on some exciting twists and different points of view. It’s interesting how Park uses the fake Korean Count Fujiwara in a get-rich-quick scheme as an opportunity to assimilate into Japanese culture. It’s ultimately a story about class differences between Korea and Japan during that era. It’s difficult not to be enamored with the colorful outfits, lush landscapes and regal architecture from Japan. As Park lures you into this elegant world, secrets lie beneath the ethereal facade. There is a basement in the manor where Hideko’s rich uncle Kouzuki (Cho Jin-woong) keeps a little shop of horrors nobody ever wants to visit. This is where Park gets to delve into scenes that hark back to ‘Oldboy.’
The film’s dialogue is subtitled in two colors – white for Korean and yellow for Japanese. This adds to the deception of the characters and their underlying personalities. When the story is told through Hideko’s eyes, it reveals how some characters are the ones actually being duped. Park shows us plot twists among the characters that tie together loose ends with magnificent clarity. This is where Park gets to show off his gift as a storyteller. As the characters double-cross each other, the heroines reveal their true feelings for each other during a period when it was taboo to do so. The two South Korean actresses are superb in the lead roles. The sex scenes are graphic but done with passion and tenderness.
‘The Handmaiden’ is best seen without knowing too many of the plot twists. It is a rich and complex cinematic experience that will prove rewarding from multiple viewings. Everything from the rich cinematography, the costume design and the powerful score make the entire film a visual feast. ‘The Handmaiden’ is the best psychological thriller of the year. Don’t miss it at your local arthouse theater.
