In The Handmaiden, South Korean provocateur Park Chan-wook returns to his native language and production model after 2013’s rather unsuccessful Stoker, and reaffirms his reputation as one of contemporary cinemas most striking stylists. Like his pictures I’ve always had something of a twisted love affair with his work, naturally I’ve seen them all, dating back to his off-kilter Joint Security Area and frequently gasped and groaned at the fusible encounters but never left the dalliance completely satisfied. He’s still best known for the Vengeance trilogy which afforded us with the disturbing Oldboy as the central piece of his taboo busting triptych, a breakthrough international hit which is still regarded as one of the finest films of the 2000’s, which managed not to be tarnished by an utterly redundant Hollywood remake a few years back. Now he’s back with a stunning new film which for shorthand I’d liken to Dangerous Liaisons intertwined with a light smattering of The Duke Of Burgundy, with a keen mastery of Hitchcockian manipulation as seen in the gothic inflected mysteries Rebecca and Psycho.
Flayed and defrayed from the novel Fingersmith by Welsh writer Sarah Waters the tale has been decanted from nineteenth century Britain to the Japanese occupied Korea of the early twentieth century, as tightly compressed into its title card signalled three act journey as a chubby Victorian debutante is strung into a heaving herring bone bodice. Tamako (Kim Tae-ri) has been newly recruited into the domestic service of mysterious Japanese heiress Lady Hideko (Kim Min-hee), displaced in their remote yet beautiful Japanese / British architectural influenced Very quickly this arrangement is revealed as a sulphurous masquerade, as a conman (played by Ha Jung-woo) operating under the sobriquet of Count Fujiwara, is clandestinely engineering a wicked scheme. He has secretly hired Tamako – real name Sook-hee – from a family of con artists to assist and eavesdrop on his seduction of Lady Hideko, and then committing the fragile porcelain creature to an asylum in order to purloin her sizeable inheritance. I don’t think I’m giving too much away to reveal in a film poisoned with grifters and built on furtive foundations of deceit that a transition act functioning early twist is absolutely spectacular, literally sending shivers up the spine, subsequently unleashing a slithering narrative which had me enthralled for the next few hours.
Finally another missed screening from last years LFF is lassoed like an errant bucking mare, and boy was this a frequently hilarious, tender yet tensile, brilliantly realised piece of work. It took a mere twenty minutes to thoroughly seduce me, on pure aesthetics alone production designer Ryu Seong-hee and costume designer Cho Sang-kyung’s work is equally breath-taking. Working in unison they craft an intricate marriage of detail, shade and geometry in the frame which warms a cradle – or perhaps cauldron – for Chan-wook to cook his perfect command of succulent semiotics, duplicitous desires and erotic deceit. Normally I don’t warm to his films beyond the beauty and craft, and maybe his lightly perverted sense of humour, but he has seriously upped his game on structure, information exposition and empathic viewpoints. Two sequences in particular, crucial transition scenes between the films signalled three act structure are viewed from differing perspectives with new duplicitous inflections and signals which frankly are the very lifeblood of what cinema was invented for, perfectly aligned against Jo Yeong-wook’s glorious Philip Glass reminiscent score.
Within further levels of duplicity and control the film also flirts with upon the colonial assimilation between Japanese and Korean culture during the first half of the 20th century. I can’t even remotely pretend to be au fait with the historical and cultural context to make any revealing comments, but even simple policies such as Sōshi–kaimei ーpressurising Koreans to change their family names to Japanese equivalents – are clearly illuminated and deepen the themes of control, coercion and appropriation. This being a Chan-wook joint the film moves deftly into its erotically taboo areas, pulsing with the repression seething underneath those constrictive garments, which never descends into the morass of exploitation or mere titillation. Just to be a completely pretentious jerk (stop nodding) the use of negative space after certain plot contortions was just sublime, and while I sometimes find it difficult to appreciate the nuances of a performance when the film isn’t in my native tongue both the leads are terrific. Carefully and gracefully they both slowly piece a jigsaw of aligned characters motivations and drives, hacking through their shared webs of subterfuge with a stiletto sharpened passion.
Visually The Handmaiden is bathed in the semiotics of the fear of castration, of literal patriarchal poisoning and menstrual defiance, just one movement of this film alone could potentially impregnate a decade of academic gender studies papers across an entire Ivy league syllabus. Chan-wook revels in Freudian dream image symbology which are nested in peepholes, keys, butterfly hairpins and a bestial, squirming octopi which naturally reflects back on this infamous moment. Like all of his films (and to my mind most of the South Korean movies I’ve seen) it’s just a little too long and could suffer a twenty-minute trim, although I note that there is already a directors cut doing the rounds with extra footage taking the piece to just shy of three hours. In light of articles like this, charting the incremental move from screens for new productions it is welcome to see a film which absolutely had to be seen on the biggest possible, not just because of Hollywood CGI pyrotechnics and carnage, but to fully wallow in an experience where the design, sound and cinematography have been attuned in an essential big screen, shared experience. As far as the Menagerie is concerned this is Park’s best film to date, taking his craft to a higher level, a filmmaker at the peak of his powers – sure, I’ve enjoyed Logan, Get Out and Moonlight over the past few months, but as it stands as we move into peak blockbuster season this is my pick of the year so far;
Catching up on some cult themed movie lists of 2016 to see what I missed, I’m still kicking myself at evading Train To Busan which everyone has been raving about as a ‘resurrection of the zombie movie’ or some such wordplay. I’ll certainly be renting it as soon as it hits Blu, but I’ve also identified this as one of the more esoteric gems emerging from that continent;
Yes, apparently starts of like some bubble-gum, J-Pop Rom_Com, then suddenly dovetails down to hell in a way that would make Sono or Miike shudder – sounds good. Very unlikely it will get Region 2 release here, so I’m monitoring some specialist sites…..
Just a little placeholder while I wrap up my final entry on the Spielberg season, this has been doing the rounds as a little archive treasure – behind the scenes at Amblin, star cameos and much merriment besides;
Dismembered stumps up if you remember J-Horror? You know, that turn of the millennium cloistered yet influential sequence of horror films that emerged from the ancient orient like a saturated vengeance spirit emerging implacably from an ominous rural well. What could be more terrifying than a new Ju-on: The Grudge or Ringu film updated for 2016? Well, how about……Ju-on: The Grudge versus the deadly aqua nymph Sadako? Be afraid…be very, very….afraid;
One of the all time great legends of Japanese cinema has passed, no less that the star of one of the most acclaimed films ever made. Some context here, its rather sad that she retired when sensai Ozu passed, and never worked again. Still, she delivers one of the all time greatly understated lines in an undisputed masterpiece, not a bad legacy;
The ever prolific Sion Sono is back with another colourful catastrophe, and freshly blooded thoughts from it’s Fantasia festival preview tickles my fancy. It’s not often a trailer makes me laugh out loud as all the kids are saying these days, see what you think as I count the days down to an inevitable LFF appearance;
I wonder if the Japanese film director union is having something of a competition this year, to see whom can be the most productive helmsman of the year. Miike Takashi has a mere two films slated for release which has been his batting average for the past five years, while countryman and LFF favorite Sion Sono has no less than six – that’s six – movies scheduled for release in 2015. That’s insane, here is the rather restrained trailer for the first one;
And now let me unveil this, perhaps the most obscure piece of Kubrick ephemera I’ve ever managed to source, quite remarkable;
This should get your weekend going with a bang, described as Takashi Miike’s ‘most demented film yet’ that’s quite a boisterous claim for the man who has given us Audition, Visitor Q and Ichi The Killer, but having seen this seriously NSFW preview they may have a point;
I’m told it is drenched in Japanese pop culture artifice which might not travel to Western eyes, but here’s something of a synopsis – ‘an X-rated Crystal Maze, where characters and icons from Japanese folklore introduce massively gory variants on traditional schoolyard games’ – excellent.
Who is Takao Saito you may ask? Well, only the cinematographer on some of Japan’s most iconic contributions to world cinema of course? Well, OK, I may have seen the majority of the samurai sensei’s films – I’m talking about Kurosawa of course – but I must admit to being largely oblivious to his collaborators beyond Mifune. I’ve meaning to get round to reading this for years, now of course as an act of diligent respect I must honor the clan;
Kurosawa of course pretty much invented the modern action film, so we can thank him and his visionary photographer for subsequent genius like this;
In other news the BAFTA’s were announced this morning to a maelstrom of controversy, begging an urgent question – just who has Mike Leigh fucked off to get so completely shafted for the critically adored, Cannes winning Mr. Turner? If I was a betting man I’d have laid odds on it taking down every major category, but it hasn’t even been nominated for film, screenplay or actor, although it has managed to muscle in on a few of the second tier awards. Truly bizarre, but maybe he is turning into something of an embittered grouch if you consider this and this…..
On the one hand I’m slightly annoyed at still being plugged into the TiFF mailgroups after last years activities, as the publicity is starting to warm up and I won’t be attending – curses. On the other hand I am privy to some exciting genre news such as the North American distribution pick-up of Sion Sono’s quietly restrained new picture;
Japanese genre fans should also be excited to hear that Miike’s new movie is also getting an international release, no trailer yet but here’s the synopsis – ‘Yakuza Apocalypse: The Great War of the Underworld will tell the story of “a gang boss who has become legendary for surviving knife stabs and gunshot wounds that would kill any ordinary mortal. The reason for his seeming indestructibility: The boss is a vampire. When he is finally felled by an assassin, he bites an underling, Kageyama (Hayato Ichihara), before expiring. Now a vampire himself, Kageyama goes out to seek revenge’…..Hmm, well that sounds a little tired, but let’s hope they both come to the LFF this year eh?