Review of The Handmaiden (2016) by Legitsalt — 22 Aug 2020

This movie is by far one of the smartest and as most well-made movies of the last decade, and illustrate's the peak of global cinema. Not only is this movie intricately crafted and intensely rewarding, but it has an incredible amount of content to offer and is incredibly visceral. The plot is razor-sharp, and by the movie's final resolution, every twist feels earned and satisfying. The flick runs the gambit on the content that it features, ranging from erotic to dramatic to gory, never overly dwelling on any one subject but also not shying away from showing the extent of abuse and ecstasy of the character's journeys.

The movie's plot structure is one of great deception, but also great pay off. The first act allows for an introduction to the setting and most of the characters and, while it feels rushed and slightly clunky, this is by design, setting up for the later development of the characters and setting in the following acts. From this point on, the plot turns back on itself, seeming to undo everything already established; this, however, is also revealed to be somewhat of a ruse as the plot ties knots in itself, introducing new dynamics and histories to previously introduced characters. Despite its constant weaving, the movie ultimately plays fair and gives the viewer exactly what they need to understand the characters' motivations and the story's direction. The final act of the film is filled with the height of the film's eroticism and violence tieing up all the loose ends in a satisfactory manner. The tension builds and builds, interspersed with scenes of visceral love and passion, finally ending in a way that brings back many of the introduced elements. While some of the reincorporation is obvious, others are callbacks to moments where the viewer's attention was encapsulated by everything else happening on screen.

Aside from the structure, the movie also excels in its presentation of its characters and story. The characters are all very deceitful and multifaceted, each having their independent drives that constantly clash, creating the tension that serves to fuel the movie's progression. The acting was spellbinding and often even mesmerizing, Tae-Ri Kim (who played the handmaiden) had so much emotion, compassion, and love imbued within her actions that it was hard to imagine her, existing outside of her character. Min-Hee Kim (Lady Hideko) was similarly emotionally volatile, but hers had an added layer of intricacy due to her character's history of emotional, physical, and sexual abuse. Both the handmaiden and Lady Hideko are objectified and toyed around for much of the film, but this changes once they come into themselves and realize the extent of their potential empowerment. While the movie is initially about men extorting women, it quickly turns in to women using their perceived subjugation to attain dominance in a hierarchy. The film's main antagonist, Count Fujiwara (played by Jung-woo Ha), is the driving force of the film, and the resolution to his character arc is one the most satisfying of the film.

The movie, explicitly about the changing dynamics of a subset of characters, is more broadly a look at the relations between Japan and Korea, especially during the Japanese occupation of Korea. Through this lens, the film explores identity and heritage and how the inherited versions of these can impact the way we approach and live our lives. Many of the characters go to great lengths to disown their Korean heritage because, at the time, the Japanese were seen to be the superior culture. To this extent, many of the characters destroy parts of themselves to put on a more socially conforming facade, often doing irreversible damage that causes lasting impacts. The movie suggests that in a climate of heightened deception and discrimination, staying true to one's character and beliefs is one of the most healthy things one can do. The characters' admiration of the traditional Japanese books, specifically during the auction scenes, shows how demented the Korean characters' self-effacement has become within the purview of the film's world. That the wealthy elites hold forged pornographic works to a higher standard than they do the Koreans that posses them is the sole illustrator of this fact.

The Handmaiden is thought-provoking sensual, but most of all rewarding; despite being over 2.5 hours, I felt constantly engrossed and on the edge of my seat. I would also like to note that the film's depiction of mental health and suicide is rather nuanced and authentic, i.e. they are influenced by the abuse/actions of others and rarely exist solely in a vacuum. Specifically, this is shown when the aunt's suicide was, in reality, a murder. I would recommend this movie to anyone, it has something for everyone and provides more than could ever be asked for.