Review of Lady Vengeance (2005) by Daniel P — 05 Sep 2008

A stunning film that together with predecessors Sympathy for Mr. Vengeance and Oldboy presents a massively important, vital body of work. Some spoilers ahead. I have to admit that I initially found Lady Vengeance to be heavy going.

The stylised flourishes and the apparent coldness of the lead anti-heroine didn't hook me immediately, and it's a much more complex film than the first two parts of Chan-wook Park's vengeance trilogy.

But I persevered, and am very glad I did because this is every bit the masterpiece I was hoping for. Once again, Chan-wok Park has a knack for saying so much with so little words. The human condition is laid bare and it's ugly and it's beautiful.

Rarely do you get to see a film that tackles the subjects of vengeance/revenge and redemption/atonement so well and with surprising subtlety, even amid all the fancy camera techniques, graphics and bloody violence.

Speaking of the violence, it's interesting to note that, as if often the case, what is not seen is what most lingers; here the most uncomfortable sequence involves the reveal (or non-reveal) of home-video footage.

As the story concludes its pivotal, edge-of-the-seat act of group vengeance, it's clear that although there may be an initial catharsis for these characters, they have become shells of themselves, forever haunted or dead inside, or else deranged and trying to occupy themselves with small talk.

Vengeance has not been the answer, a conclusion strengthened by the 'fade-to-white' version of the film, and the final act of seemingly self-sacrifice (tinged, as much of what has come before, with biting black humor).

Directed with vision, scripted with economy, beautifully photographed and featuring a memorable music score, this is a resounding success. All of this would be for nothing if the viewer was unable to connect (eventually) with the lead character (the alternate title is Sympathy for Lady Vengeance after all), so thankfully Yeong-ae Lee is pitch perfect as the outwardly blank but internally complicated and multifaceted Geum-ja Lee.