THE HANDMAIDEN

The Handmaiden

Taking its central themes and inspirations from the 2002 Sarah Waters novel Fingersmith this erotic thriller directed by Park Chan-wook constantly strives to outguess its audience with each of its three sections exploring the same tale from a different character perspective.
A much more complex and interesting take on the original tale of a pickpocket lifted from poverty to high society in Dickensian London than the BBC drama from 2005 even though both are period dramas the question of location literally sets them worlds apart as by transplanting the action to South Korea –under colonial Japanese rule- there is an exoticism and erotica the earlier interpretation never achieved.
The tale remains basically the same when a pickpocket is used to try and help an unscrupulous conman posing as a Count seduce an heiress out of her fortune when it becomes clear that sexually she is more attracted to women than men thus requiring female complicity as his own masculinity obviously falls short.
What then follows is a web of deceit, intrigue, sexual duplicity and a plot which keeps second guessing its audience and holds their attention rapt.
Beautifully shot amidst outstanding scenery with stunning sets- the palatial residence of the supposedly duped heiress is part Victorian Gothic mansion and part traditional Japanese and as labyrinthine as the action- which combine to make the whole viewing process even more of a visually stimulating experience than it already is.
Although the film clocks in at around two and a half hours long the great central performances alongside plot devices and exotic settings somehow conspire into making the time fly by.

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