South Korea's Harrowing Jewel: The Housemaid (1960)

Upon suggestion by my ever asian cinema-curious roomie, I decided to at long last catch the rarely seen in the west Kim Ki-young film, Hanyo (AKA- The Housemaid). And to consider this as seminal might be understating it by an impressive mile. While on the surface, this is a film that feels borderline primitive, and even quaint scene-wise, there is something utterly punishing and prophetic here that solidifies the film's reputation. On one level, a caustic melodrama involving the plight of a factory music teacher's family after hiring a mysterious newcomer to handle their domestic duties. While on the other, it is a darkly funny satire of South Korea's burgeoning upper middle class complete with technological terrors, desperate women, and an even more desperate populace.

What initially leapt out to me about this film, was the lush, often decadent composition laid forth for a black and white Korean film made in the 1960s. Ki-young's attention to set detail, placement of objects, characters, and even lighting predates and clearly laid the foundation for well over a decade of phenomenally articulate filmmaking from a country long considered a non-entity in international cinema circles. There are plenty of visual choices here that predate the works of Park Chan-wook, Bong Joon-ho, and even Kim Ji-woon in their almost obsessive symbological drive. Influences ranging from Hitchcock to Honda, there is a confident, painterly feel to the entire film, as if it was a tale demanding of our attention. From the use of a cat's cradle in the opening, to the heavy use of stairs as "escalating" motif, the piece is composed to burn deep into the panic recesses of the mind. And considering the era that the nation was just slowly crawling out of, there is plenty on the heart of the film and its maker to justify it.

And the funny part about the entire affair is that despite its many of its glaring issues, Housemaid is a potent, almost seething nightmare. Unlike what eventually became something of a suspense movie staple; the usurping nanny manipulating the well-to-do family, the story takes full advantage of everything at Ki-young's disposal to weave a vision of middle-class in awe of the west's ideals, to the detriment of human logic, or understanding. The central family of the film led by a struggling piano teacher, and a career seamstress find themselves yearning for a life beyond, only to find themselves endlessly at odds with their current state. As they are both career-minded, and not at all shy about coming clean about their ambitions to have the biggest house with the best machines and accoutrements, the main setting never lets us forget just how squalid their success really is. Even as they are now dependent upon government funded factory works, and women are entering the workforce with great speed, there is this unerring feeling that the advancements have themselves led to even more work, greater exhaustion, and yet some notions that towing this line is key to infinite happiness.

So when the piano teacher, Mr. Kim(Kim Jin-kyu) finds himself at the center of affections by one of his students, leading to the entry of a new home student, and inevitably the titular character, we are granted insight into the film's more paranoid leanings. Despite the advancements whirling through asian society like a torrent, it is also a delicate one where a once sidelined population (in this case, females) has suddenly seen a shift in fortunes. It is to the point that not unlike everyone else in the film, they are attracted to this newfound sense of empowerment inherent in the system that is now providing far more than had previously been possible. It's so pervasive, that even marriage doesn't seem to be much of a deterrent for some of the younger generation. And even as the film's elder's terribly wish for things to maintain their noble lustre, there is an inescapable clawing effect taking place that seems uninterested in the artifice all around them, and rather more about living up to an approval that will never truly come. Even the children of the Kims don't seem like simple kids. They have seen too much, and can be considered every bit as questionable.

This is made all the more bold once the housemaid arrives and begins to make clear just how much she really doesn't seem terribly interested in the family she is tasked with caring for. She kills rats out in the open, harbors secrets, and inevitably tears herself into the world like a being possessed. It is not about the affections of the piano teacher, but rather what he represents; an illusion of security and community acceptance. And even as the film's emotional pitches reach almost absurdly operatic heights, there's a very real sense that the apolitical Ki-young is highlighting an attraction to a perpetually unfulfilling lifestyle where all that gathers is material, and little else. Working their souls and bodies to ruin in the name of something that offers no respite, and even less love, Housemaid cuts deep into what Ki-young must have seen somewhere on the horizon, and what we are perhaps just barely becoming aware of..a hell of our own making.

The Last Stand (2013) Movie Review

Not as invested in the much-publicized return of one Arnold Schwarzenegger than of the American film debut of one Kim Ji-woon, this by-the-numbers tribute to all things Spaghetti Western is only mildly punctuated by moments directorial panache.

 On a sleepy weekend in Sommerton, New Mexico, town Sheriff, Ray Owens (Schwarzenegger) & his young and less than experienced staff become entangled at ground zero when a major drug cartel leader & escaped federal prisoner bullets down the American southwest, toward the Mexican border. With the feds (led by an often bewildered Forest Whitaker)in hot pursuit, and suspicious activity happening in the outskirts of town, Ray and his team must make do with what little they have to stop the Corvette 01 speeding Gabriel Cortez(Eduardo Noriega) from getting past them, even if it includes deputizing a few
 unexpected individuals.
 
And with this simple premise, and even more lightweight script by Andrew Knauer, the film is often better executed than the bulk of 80s action hero returns over the last several years. It isn't so much a chest-thumping celebration of old school tongue-in-cheek action, but rather an often sincere love letter to some of the earliest ancestors of the genre. And while the trappings and violence seem more on par with modern action films, the nods to most notably the spaghetti western are grand and obvious from the battle plans, to the end goal.


Problems arise when the supporting cast is often given uneven coverage, and the messages inherent in setting the film in modern day lead to some questionable notions. The villain and FBI footage often flounders in generics to the point of feeling like a cable television movie at times. And as a result, the heavy lifting goes to Owens and his town which often feels like a stand-in for "anytown USA", which could have been so much more. But as it stands, we never really get the stakes, nor a solid foothold as to what his character truly values. And while a lot of what is on screen is well-intentioned, it really feels like the cut on display felt desperate to get to the action(which does take up nearly the entire second half). Ji-woon does what he can to weave an exciting action melange, but is often whittled down to results that many might just consider average. It also doesn't help that so many character names don't seem to jibe in any sensical manner. (and just what is Peter Stormare's character supposed to be?) And while it does deliver for the most part, The Last Stand really is an American demo reel for a director who is capable of incredible things.

The Good, The Bad & The Weird (2008) Review

Upon first checking out the online spin concerning Kim Ji -Woon(A Tale Of Two Sisters)'s ode to retro-actioners & spaghetti westerns, a part of me leapt for joy as it truly felt logical that one of Korea's masters had what it took to breathe irreverent new life into these near-extinct genres. If Miike was to have a whale of a time with revamping the Django Western some years back, why couldn't it happen here? Part Leone tribute, part Balls-to-the-Wall Indiana Jones chase film, the film shifts chaotically between extremes in often times jarring fashion. Which isn't to say that The Good, The Bad, and The Weird is any kind of letdown, but rather that it is a matter of what one brings to the whole wacky affair.

In oh-so breakneck fashion, the film introduces the backdrop as 1930s Manchuria, a time when Korea's stake in the world stage was in doubt as Japan had begun to move deeper into the mainland, with many Koreans bandying for independence.(backdrop information which may, or may not affect viewers depending of their knowledge of this corner of history) Concerns for this have led to an increased number of displaced folk, seeking out their fortunes for varying reasons. And a potentially huge tip to fortune has just landed in the lap of a wealthy man eager to hire expert trackers to find it. The Macguffin in question is a map, leading to an unknown prize of considerable wealth. His separate hiring of black-clad gang leader, Chiang-Yi Park, and good guy bounty hunter, Park Do-Won lead the charge onto a busy cross-country train carrying Japanese banker Kanemaru, who's possession of this prize is key. Yet despite all this, it is the cunning antics of one Yoon Tae-goo that intercepts the map, and leaves both parties in hot pursuit.

To make matters worse, the fracas on the train has grabbed the attention of Mongolian groups, prize hunters, and inevitably the Japanese Imperial Forces in a nonstop race for the map. Just what is this map? And just how far are people willing to go for it?

Lee Byung-hun's twisted, Chiang-yi is a classic egoist, ready to plunder and kill all who stand between him and his reputation, an instant Achilles heel that works like an unstable powder keg. And Jung Woo-Sung portrays the Man-With-No-Name archetype with a sort of lost -soul that while appropriate is given a short shrift. But it is Song Kang-ho that comes off triumphantly in this film. In what easily could have been modeled into a Lee Remick impersonation, Kang-ho's schleppy charm becomes the film's bonding element. Part likeable loser, part danger to himself and others, Yoon Tae-goo is a man of considerable secrets that truly shows his stuff when in the most intense of situations.

And intensity is perhaps the word to utilize when thinking of TGTB&TW's strengths. Where the film sort of stumbles in the exposition/character development department, it truly excels in some truly exceptional action sequences. From the early shootout set-piece within a shanty marketplace, it is pretty clear where Ji-Woon is most comfortable. The editing, and stunt-work there are among some of the very best I've seen in years. (there are shots in there that truly rival manga imagery) And then the final chase sequence using a multitude of horses, motor vehicles, and artillery fire must be seen to be fully comprehended. In an age of digital cinema, it is nice to see a large-scale production embrace a true sense of danger. About the only gripe I could share in these areas are some of the musical choices that for me, feel forced and dare I say it, unimaginative for such impressive everything else. It is a crippling would in what could easily have been a landmark scene.

But alas, the weaknesses don't really end here. Even if the film intends to throw us into the fray, it's still important to let viewers in on what is truly at stake by giving us a little more character early on in the film. Instead, we are subject to what I can only call Bay-isms, where the audience is subject to montages of information with little or no true cohesiveness toward our characters objectives. It isn't until nearly into an hour into the film that we are given just enough to care about our leads before the grinder is switched on to high. And even if non-Korean viewers were likely not intended, it would still help the multitudes of viewers whom many of these homages were paid respect to.


It is almost apparent that the film's primary concern was the action, with the script's meditations on the spirit of displaced countrymen taking a grudging backseat because where this film truly flies is when all thrusters are on full, leaving us to charge along in the chase, hoping to cash in on all the dizzy fun. This all ends in a denouement that quite frankly should have been more focused than it is. I'm also of the understanding that multiple endings resulted. In some way, this reflects quite appropriately to my initial statement. TGTB&TW is not unlike our leads, longing for more, striving for glory, only to come back with what they themselves have brought to the journey.