aka 아가씨 aka Agassi 2016 Written by Park Chan-wook & Chung Seo-kyung
Based on the novel Fingersmith by Sarah Waters
Directed by Park Chan-wook
If you aren’t a fan of Park Chan-wook by now, I’m not sure what it will take to convince you to get out and see The Handmaiden. But if you are one of the millions of his fans around the globe, you know that Park Chan-wook is a force of awesomeness in the movie community, and The Handmaiden continues that tradition of awesome movies from an awesome guy. Basically, run, don’t walk, to the theaters and check out a wonderful psychological thriller. There is a trio of amazing performances by Kim Min-hee, Ha Jung-woo, and newcomer Kim Tae-ri. Sarah Waters’ novel Fingersmith is moved to 1930s occupied Korea, where it still manages to work in a culture of repression and male dominance.
Kim Min-hee is heiress Lady Hideko. Hideko is isolated and lorded over by her cruel uncle, Kouzuki, who covets her money and title. Her mother died in childbirth, and her aunt was found hanging in a tree when she was a child. Hideko never leaves the family estate and her only contact with outsiders is a weekly reading of erotic literature to exclusive guests. If you are familiar with the concept of that literature, some of it is ridiculous, basically the dime store erotic trash novels peppered with flowery poetry and filled with imagery that at times stretches believability that the writers have even interacted with people who have sex. Hideko’s Uncle Kouzuki has designs on becoming a Japanese nobleman despite being neither of those things and Hideko’s money and title his avenue to obtain them. Kouzuki rejects his Korean heritage in an admiration for the occupying Japanese, but his true passion is rare books, specifically the aforementioned erotic literature.
Kim Tae-ri plays Sook-hee, a gifted pickpocket and thief embedded as a handmaiden whose job it is to help convince Hideko to fall for the fake Count Fujiwara (Ha Jung-woo — Assassination). Fujiwara has a knack for making forgeries and is just the thing Hideko’s creepy uncle needs, as he can’t bear to part with any of his rare books, but is perfectly fine with selling off faked replicas of them. This gives Fujiwara the access he needs to scope out Lady Hideko and enact his plan of seduction and asset seizure, enabled by Sook-hee as Hideko’s new handmaiden. And then it is seduction time. Continue reading →
aka 암살 aka Amsal 2015 Written by Choi Dong-hoon and Lee Ki-cheol
Directed by Choi Dong-hoon
Despite the years of ups and downs, South Korea cinema continues to deliver great films, even if it isn’t at the breakneck pace that it once had. And deliver Assassination does, giving us a great wartime espionage tale with a core group of interesting players to follow. Characters battle and scheme, motivated by their honor, for some the honor of appearing strong and powerful more alluring than the actuality.
Assassination wins not because of the action sequences of the story of a ragtag group of unlikely heroes battling against a gigantic evil Empire, but because of the scenes of characters interacting. A heroic sniper, bounty hunters with consciences, and traitors that put their own power above their nation and peoples’ survival battling it out is well and good, but I’m going to remember Ahn Ok-yun sitting in a diner next to Hawaii Pistol where they concoct a fantasy of being a couple in order to evade detection by the Japanese army. Or Hawaii Pistol recounting how he killed his own father and wanting to spare Ahn Ok-yun the same fate. Or a traitor wiping out anyone who threatens to expose him because of he doesn’t want to die. The little bits in the larger whole where characters switch from the stereotypes you think they are to fully fleshed out beings.
Assassination spins its web of spies and intrigue before setting up the next big action scene that causes the surviving players to shuffle around and prepare for the next web. Choi Dong-hoon was best known for his heist films, including the international hit The Thieves, and while Assassination is a different genre, it still has the large cast and multiple story angles all coming together. It even follows some of the same story beats, with a mid-movie action sequence (or heist) that everything was working up towards, but it turns out it was just the beginning of the second half of the film with a smaller but larger staked sequence to follow. Continue reading →