![]() This is, naturally, how another conman operating under the false name Count Fujiwara (Ha Jung-woo) comes into their lives, requesting that one of their ilk help him dupe Lady Hideko into accepting his marriage proposal so that he can soon after declare her mad, admit her to a mental institution and keep her fortune for himself. And, indeed, Chan-wook’s decision to re-work the source material (adapted from Sarah Waters’ porn-tinged titled Fingersmith) from the Victorian era to a time period resonant with his own culture only strengthens the narrative and his affinity with the screenplay and bringing it to life.Īs the film opens with Sook-hee (Kim Tae-ri) departing for the lavish home of Japanese heiress Lady Hideko (Kim Min-hee), a number of women holding babies watch her depart in the rain, with one of them decrying, “It should have been me!” Sook-hee’s longstanding familiarity with thievery and the skill of the con stems from growing up in a family of swindlers, who only raise Korean babies to sell to Japanese people. It is this unique backdrop that punctuates the tenth film directed by Park Chan-wook (though, yes, he’s partaken in writing and producing a number of others), The Handmaiden–arguably bearing some feminist similarities to Margaret Atwood’s The Handmaid’s Tale. ![]() ![]() Like the British imperialistic rule of India, non-history enthusiasts often forget about the Japanese control of Korea that began in 1910 and culminated at the end of World War II. ![]()
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