At that moment one drop of insanity could cause someone to go completely mad.
Park Chan-Wook’s “The Handmaiden” is a romantic tale, vindicate thriller and confuse film set in Japanese-involved Korea in the 1930s. It is attractively excellent, honestly sexual, once in a while unreasonable and horrendously fierce. Now and again its extremely presence feels peculiar. But the greater part of its divergent pieces are amassed with such care, and the characters composed and acted with such mental sharpness, that you once in a while feel as though the essayist chief is rubbing the gathering of people's nose in overabundance of some kind. This is a film made by a craftsman at the pinnacle of his forces: Park, a South Korean executive who began as a faultfinder, has numerous incredible or close extraordinary sort movies, including "Oldboy," "Sensitivity for Mr. Retaliation," "Woman Vengeance" and "Thirst," yet this one is so perplexing yet quick that it feels like the summation of his vocation to date.
Park Chan-wook is an ace of present day silver screen with the greater part of his movies handling fundamentally unique material, as well as being undertakings that are all jaw-droppingly wonderful in various ways. The executive's latest movies—I'm A Cyborg, But That's Okay, Thirst, and Stoker—all display an advancing producer that is reinforcing his stranglehold of the medium.
Park Chan-woo has picked up a great deal of reputation with his Vengeance Trilogy, yet The Handmaiden seemingly goes about as the last piece in his Lust and Temptation Trilogy that started in Thirst, was carried on in Stoker, and blooms a large number of its topics here. All the more particularly, these movies are vigorously intrigued by the delight of sensuality and freedom from sentiments of blame. The Handmaiden prevails in the perfection of these thoughts, additionally similarly as a deliberate story of suggestive control. It's My Fair Lady meets Audition.
Set in a Japan-involved Korea in the 1930s, the story sees Count Fujiwara employing a pickpocket and criminal specialist, Sook-hee, to wind up distinctly the handmaiden of the monitored and delicate fancy woman, Lady Hideko. Sook-hee's employment is the greatest con of all with her main goal being to make Hideko succumb to Fujiwara, who can then drain the affluent lady dry. At last however, Sook-hee winds up getting to be distinctly charmed with Hideko herself and the majority of the characters in play slowly get to be distinctly required in a developing adoration polygon. Stop has adjusted the story from British creator Sarah Waters' novel, Fingersmith, however has sufficiently changed center ideas that Waters' novel is a greater amount of only a motivation here.
Park Chan-wook positively plays into the substantial trickery that is lingering palpably. He transforms The Handmaiden into an account of control that is as mind boggling as the one on Bryan Fuller's Hannibal, as slow a part inversion as The Double, and trickling in almost the same number of sexual head recreations as Dangerous Liaisons. This is only an intensely deceptive motion picture when all is said in done where you should be suspicious of each line of discourse, as well as each smaller scale signal. '
Nothing here is real.
The Handmaiden at Cannes
Cannes Review: ‘The Handmaiden’ is a Sexy and Depraved Lesbian Revenge Story
(From left) Actor Ha Jung-woo, actress Kim Min-hee, director Park Chan-wook, actress Kim Tae-ri and actor Cho Jin-woong pose for cameras after the premiere of “The Handmaiden” at the Grand Theatre Lumiere on Saturday at the 69th Cannes Film Festival. (CJ Entertainment)
It's too simple to categorize Park's concentrate on realistic sex and sadomasochistic minutes as outlines of his reductive narrating strategies, which underscore his inclination for stun an incentive under the appearance of expound filmmaking systems. It's actual that his abundance on occasion veils the shrewder perceptions about class and sex permeating all through the material, at the end of the day it changes them into a women's activist retribution plot with a lot of cathartic minutes. And keeping in mind that it's far from "Blue is the Warmest Color," the itemized choreography of the sexual moments generates a shockingly captivating level of sentimentalism.
Park’s a smarter director than his unsavory tactics might suggest, and while "The Handmaiden" isn’t his most cohesive work, it’s driven by a pointed ideological perspective. Rather than merely sensationalizing corruption, he uses it to give credence to his characters’ wavering moral compasses. No matter its overarching ridiculousness, "The Handmaiden" remains a hugely enjoyable dose of grotesque escapism from a master of the form.