Also a Korean director known for his stylized bloody violence, Kim Ki-duk's films are blunt weapons with destructive power, while Park Chan-wook's film language has the precise analytical power of a scalpel. In the latter's previous works, no matter how complicated and high-profile their audio-visual techniques are, they still focus on highlighting contradictions or sculpting characters, so that the narrative can be both observable and feasible. The completion of "Miss" is not good enough. If you remove the conspiracy theory behind the deception, you have already lost a rib of the story. Even if you look at it independently of the novel, it seems to be a little weak. The climax of the film did not come in a hurry, and the character portrayals rarely tried to resonate. "Love" to a young lady or a daughter-in-law is just skin-to-skin, just one vegetable and one meal, not an immortal desire.
At first, I was moved by the show of bathing, watching the subjective and objective cameras intertwined, listening to the rhythm of the grinding, Shu Ji's admiring eyes were like a fledgling bird hidden in the forest, and Xiuzi's light-white fingertips brushed her elbows. , plucked her heartstrings. The sweetness of the candy melts on the lips and tongue, the scent of the fragrance is in the breath, there is a wooden table covered with glass bottles of fragrance in the foreground, and a bunch of lilies leaning against the halo in the background. , are filled with ambiguity. Later, I preferred Shuji to lie on her back on the quilt with yellow and white embroidery. The liar’s words rustled in her ears, but her daughter’s thoughts were hidden in the apron pocket. Her index finger could still imagine the curvature of Xiuzi’s jaw line, and her thumb was still there. Shaking slightly for Hideko. What she was going to do was clearly a bad deed to deceive the world, but she couldn't help showing emotional joy on her face.
"That cherry tree from Mount Fuji can take away a person's soul." Hideko occasionally climbed the tree, hanging herself like a lone leaf on the branch, hoping that it would annihilate her mind before the next reading. The lengthy imprisonment and enslavement failed to destroy her, but Sook Hee's reply ties her a knot of despair, from the temptation to the suicide. The iceberg-like Hideko, the jewel-like beauty, the lady with thorns, the noble dipped in poison, peeled off all the colors in the face of love, she hung under the cherry tree and asked Sook Hee "Are you worried about me?" , after seeing the whimpering little girl under her face and nodding her head, she regained her anger in her tone, and the tears gradually fainted in her eyes. Gan Wei surrenders to Miss and is willing to stay with Miss. Jin Minxi's messy hair in the upside-down camera is also so beautiful.
Park Chan-wook's films are delicate enough to the gaps in the dust particles, and his seemingly unworldly formula skills are successively placed into the love, hatred, and hatred of the fireworks world, and the plot advancement is full of torture. Before Hideko and Shuji expressed their intentions, the mirror was an important image for spatial scheduling or mapping the virtual and the real. Especially in the second part of the story reversal process, the meaning of the mirror is much more interesting. Another favorite scene in the movie is when Xiuzi and Shuji opened wooden doors one after another, stepped over the low stone wall, and ran laughing and running against the golden morning light. He Pongfa; Uncle and Liar's ending is very "Park Chan-wook", and the glass containers lined up in the basement are exactly its curious and cruel orientation. The solemn breath in the smoke accompanied the light and shade of the basement lights, transferred to the reading room where the power was cut off, transferred to the small canoe in the mist, and finally ended in Xiuzi's quiet eyes. Xiuzi tilted her head and leaned on Shuji's left shoulder, Shuji's right hand slid across the receding river, the man in front of her blurred in sight, and the scenery on the bow was the real future they were looking for. However, the director's understanding of women is only shallow after all, the expression of love from the perspective of the opposite sex is too extroverted, the "feminism" that the director seeks is terminated under the nudity and violence, and the happy bell at the end is more like a throw in the palm of your hand hammer.
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