Leofwine_draca The South Korean thriller THE HOUSEMAID is a remake of a 1960 classic, although I have no experience with the original. What I can say is that this is a taut and compelling movie, made with a high quality by director Im Sang-soo (thankfully no relation to his namesake, Hong Sang-soo, a pet hate of mine).As with many Korean movies I've watched, there's plenty of subtext here as the plot reflects on Korean society and the inequalities inherent therein. A young housemaid comes to work at the home of a rich family, only to be quickly seduced by the womanising husband. There are some extraordinarily explicit sex scenes here, but far from being an erotic thriller this soon turns into something quite different.The plot takes many unexpected twists and turns, and at all times is kept more than watchable thanks to a literate script and the attentions of a professional cast. Jeon Do-yeon holds it all together as the sympathetic titular character, but Yoon Yeo-jeong also makes an impression as the older, more experienced housemaid. The climax has to be seen to be believed. While the recent Singaporean housemaid drama ILO ILO is even better, THE HOUSEMAID is still worth your while.

secondtake The Housemaid (2010)In all, this is an enchanting, disturbing, slightly above-the-fray look at a highly elite family and the interactions of mother, father, young daughter, and slightly sinister servant. And the new, young, naturally beautiful "housemaid" which is what makes this movie what it is.It has become so customary to film--shoot cinematographically--at the highest technical and aesthetic level, you sometimes wonder about how a story would subsist without all the visual excess. This is a dramatic, personal story about rich people abusing a good-hearted young woman who becomes their maid. But it is dressed in such elegant, beautiful, truly beautiful visuals, the story takes on an elevation that makes it what it is, something beyond.You have to decide whether that's a good thing or not.By the truly astonishing and almost preposterous end you'll be giddy with the slow, careful, deliberate prettiness of it all. I know this second-to-last scene is not meant to be preposterous, but like the key turning point on the ladder halfway through, there is a detachment from the family members that defies and upsets the apparent human intensity implied elsewhere. I suppose the very last scene, which (in its ultra-wide angle shooting) is unlike anything else in the movie, takes us to intentional absurdity, making what we've seen surreal, and in that sense we might revisit the movie and its intentions differently.It doesn't help to analyze the plot in particular. It's an old story--and better developed, narratively, in several other movies. The beautiful young maid is disruptive, even without trying, eventually drawing the father into the inevitable, and the mother, too, in her own way. A mother-in-law takes on an evil role, but with such cool and prettified distance it's hard to quite feel. And this movie really has at its core the problem of being understood rather than felt. The leading character--the housemaid--is absolutely sympathetic and well done. (This is Do-Yeon Jeon, a Korean actress with little exposure in Western cinema.) You do get the sense that this is a "knowing" film throughout--it has the intentions of being a serious new Korean film. And it is based, loosely, on one of the truly great Korean classic movies, a 1960 movie with the same name. Here, though, you'll definitely find a coolness and a lack of true emotional involvement that runs counter to the high production values. It's a film that could have been something much more than it ended up being, in terms of content at least. But it's totally engaging in its steady slowness, so if you like films partly for being well shot, give this a try.

kluseba This movie is a remake from a film of the same name released back in 1960 but both movies are quite different and don't have the same story line. In the original feature, the housemaid seduces a composer and menaces his family until a bloody ending. In the new version, the sexually predatory femme fatale has become a poor and naive girl that gets seduced by an arrogant, cold and pitiless rich man. When she gets pregnant, the host family wants to get rid of her. But neither several attempts on her life nor money can't convince the young woman that wants to keep her child. She even ignores good advices from several friends and colleagues and decides not to quit the powerful family. When abuse, hatred and pressure reach their highest point, the young woman seeks for justice and has to fight not only a very influent and wealthy family but also her inner demons.The strong points of the movie are definitely the portrait of the clash between rich and poor in modern South Korea and the quite credible acting. I also liked the movie for its artistic approaches. The opening scene shows a scene in the middle of a big city and portrays the everyday life in South Korea before a young and unknown woman commits suicide. Her story remains untold but the idea of showing a lost soul within a big and vivid crowd is an interesting symbol for the main story of this feature. It's the same thing with the final scene of the movie that works like a picture. It portrays a very superficial family portrait where frustration, resignation and sadness is covered by tasty champaign, luxurious decorations and expensive gifts. This last image resumes the entire movie in a short and visual way. It was a good idea to keep those scenes as they add something special to the feature.Even though the acting in this movie is done rather well, I couldn't get any connection to any of the portrayed characters. While this kept me away from entirely enjoying the feature, I now think that this was the intention of the movie maker. Everybody does some big mistakes in this movie and shows his or her negative sides. Of course, some characters are worse than others but in the end they all ran blindly into tragedy.The problem I have with the movie is that there are many lengths. It is all quite slow paced and also very predictable. The movie has some dramatic and melodramatic scenes but it lacks of true suspense. Some critics called this movie a flamingly sexy soap opera but I definitely can't agree on that. I actually think that this film is misunderstood by many Western critics. The sex scenes are cold and at some points even disgusting. I think that the director wanted to show us that even in normally exciting and positive moments, the characters are brutal and emotionless. This fits well to the rest of this coherent and quite detailed movie but none of the characters has any kind of sex appeal.Another point I have mixed feelings about is the main character of the housemaid. Even the actress said in an interview that she still doesn't quite now who she portrayed. This mysterious image is intriguing first but gets quite frustrating in the end. Some actions of the housemaid are not only naive but are simply not logical at all. Especially the final scenes felt like a letdown in my humble opinion. The ending is definitely the only truly surprising element of the movie and gets therefor some credit from me but it somehow feels hardly credible. I would even call the ending unreal and didn't quite enjoy it.In the ending, this movie is hard to sit through. It has many lengths, lacks of true emotions and has a weird disappointing ending. On the other side, it's an interesting portray of modern society in South Korea and convinces with many artistic elements. The movie feels like its characters as it is sophisticated but somewhat lacks of depth. Anybody who's looking for a sexy thriller or a twisted crime flick will be quickly disappointed. This movie is for those who look for an artistic drama only. I recognize the good intentions and efforts made by the makers of this movie but I didn't like it enough to truly recommend it or watch it again in the end.

dromasca 'The Housemaid' is based on a Korean classic movie from the 60s which I have not seen, but which is referred to by many critics and viewers knowledgeable in Korean cinema. With no term of comparison I have the (maybe) advantage of judging the film by itself. As with many other Korean films it takes a well-known genre (the rich home family drama and the relation to the servants in the house) into directions unexpected for viewers accustomed to the European or American cinema styles.Eun-yi is a young woman from a poor background who takes a job into a house of people so rich that no pleasure seems to be refused to them from birth. Besides housemaid she is the caretaker for the only child of the rich couple, for the time being – as the lady of the house is expecting to give birth to twins sometimes soon. She soon will find herself as the alternate object of desire for the master of the house, and when she becomes pregnant she starts being perceived as a threat to the luxurious routine of the family life of the rich. The older servant in the house, the mother-in-law and the cheated wife will thread a plot to eliminate the danger. Her chances of successfully fighting back are minimal.Director Sang-soo Im had the privilege of building a full house of his dreams to describe the environment the rich live, which contrasts sharply with the few realistic shots in the modern city environment. The visuals he created, sets and colors are excellent and are part of the quality of the film. I personally also enjoyed the acting, with Do-yeon Jeon in the lead role the only character with human feelings and uncertainty I could relate to contrasted to the fantasies of the spoiled and the cool interest manner the other characters around behave. The psychological pressure amplified by the surrounding is well built, and provides the justification for this story which starts with a suicide and ends with another one. The film has also an epilogue which is left open for commentary – I read it as a supplementary touch of emphasis of the social commentary in the story. The director seems to have learned and integrated some of the lessons taken from great world cinema masters as Kubrick or Bunuel, but his voice is clear and original enough in this film to expect more in the future.