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The Handmaiden

From Wikipedia, the free encyclopedia
This article is about the 2016 South Korean film. For the servant, see handmaiden. For other uses, see The Handmaid.

The Handmaiden
Theatrical release poster
Hangul
Revised RomanizationAgassi
Directed byPark Chan-wook
Written by
Based onFingersmith
by Sarah Waters
Produced by
Starring
CinematographyChung Chung-hoon
Edited by
Music byJo Yeong-wook
Production
companies
  • Moho Film
  • Yong Film
Distributed byCJ Entertainment
Release dates
Running time
144 minutes (theatrical cut)[1]
168 minutes (extended cut)
CountrySouth Korea
Languages
  • Korean
  • Japanese
Budget
Box officeUS$38.6 million[3][4]

The Handmaiden (Korean: 아가씨; RR: Agassi; lit. '"Lady"') is a 2016 South Korean historical psychological thriller film directed, co-written and co-produced by Park Chan-Wook and starring Kim Min-hee, Kim Tae-ri, Ha Jung-woo and Cho Jin-woong. It is inspired by the 2002 novel Fingersmith by Welsh writer Sarah Waters, with the setting changed from Victorian era Britain to Korea under Japanese colonial rule.

The Handmaiden was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival. It was released in South Korea on 1 June 2016 to widespread critical acclaim and grossed over US$38 million worldwide. At the 71st British Academy Film Awards, the film won the category of Best Film Not in the English Language.

Plot

[edit]

Part 1

[edit]

In Japanese-occupied Korea, a con man operating under the sobriquet of "Count Fujiwara" plans to seduce a Japanese heiress named Lady Hideko, then marry her and commit her to an asylum to steal her inheritance. He hires a pickpocket named Sook-hee to become Hideko's maid and encourage Hideko to marry him.

Hideko lives with her Uncle Kouzuki, a Korean man who helped the Japanese take over his country in exchange for a gold mine. Kouzuki then uses this wealth to feed his obsession with rare books, selling forgeries to accumulate further money and books. Sook-hee's main job is to help Hideko prepare to read for Kouzuki's guests. Returning frustrated from a reading, Hideko demands Sook-hee to sleep next to her. The two end up having sex, under the pretext of preparing Hideko for her married life with the Count. Sook-hee begins expressing reluctance about the plan, but when Hideko suggests she loves someone other than the Count, Sook-hee insists on the marriage. Hideko slaps her and violently throws her out of the room.

When Kouzuki leaves on business for a week, Hideko and Fujiwara elope. After they cash out Hideko's inheritance, it is revealed that Hideko's naïveté was part of the con. She and Fujiwara double-crossed Sook-hee and convinced the asylum that she was the "Countess" to have her committed in Hideko's stead.

Part 2

[edit]

A series of flashbacks show that Hideko's "reading practice" was Kouzuki teaching her to read sadistic pornography since she was five years old . The flashbacks show a regimen of psychological and physical abuse that gradually degrades the sanity of Hideko's aunt, who is eventually found hanging from a tree in the yard, and so Hideko takes over as the reader for the auctions. When Hideko questions the description of hanging in a book she has to read, Kouzuki tells her that he murdered her aunt using torture devices in the basement after she attempted to run away.

In the more recent past, the Count realizes seducing Hideko would be impossible and instead includes her in the plan to elope and then split her inheritance. When Hideko expresses her fear of her uncle, the Count bribes her with a vial of opium with which to commit suicide so that she can never be taken to the basement alive, calling it a "wedding present". Hideko demands the Count find her a girl to hire as a maid, to commit to an asylum in Hideko's place.

While being instructed by the Count, who takes advantage of Sook-hee's illiteracy, Hideko unexpectedly falls in love with her. Hideko tries to confess her love, but when Sook-hee insists the marriage go forward, Hideko throws her out of the bedroom and then tries to hang herself. Sook-hee saves her, and both admit to their plots. Hideko helps Sook-hee write a letter to her family to say she has teamed up with Hideko, asking for their help in carrying out a plot to get Hideko and Sook-hee away from the men who have been manipulating them. Hideko shows Sook-hee the books she was forced to read, and Sook-hee begins destroying the library. Hideko calls Sook-hee "her savior" and joins in destroying her uncle's collection.

Part 3

[edit]

After leaving Sook-hee at the asylum, Fujiwara and Hideko eat together at a high-class hotel, where he tells her of his past and asks her to marry him again, this time as Sook-hee, as they have switched identities. He also reveals that Sook-hee will be dead within a few days, causing Hideko to question Fujiwara's desires. Sook-hee's friend Bok-soon sets a fire at the asylum and poses as a firefighter to rescue her. In the pretense of re-creating their wedding night Fujiwara attempts to rape Hideko, however he is rendered unconscious after drinking wine that Hideko earlier dosed with drops from the opium vial. This allows Hideko to leave with her money. The women reunite and flee together, disguising Hideko as a man to avoid detection.

Kouzuki captures Fujiwara after receiving a letter from Hideko detailing Fujiwara's deception. He tortures Fujiwara in his cellar with his collection of antique bookmaking tools and presses him for sexual details about his niece. Fujiwara makes up a story about making love on their wedding night, while a flashback shows that he watched Hideko masturbate before cutting her hand with a knife to stain her sheets with blood, refusing to consummate the marriage. When Kouzuki presses for more details, Fujiwara convinces him to give him one of his cigarettes, after which he disgustedly refuses to give further details. Kouzuki notices the cigarettes are producing blue smoke, and Fujiwara reveals that his cigarettes are laced with mercury, and the toxic gas in the smoke kills them both.

On a ferry to Shanghai, China, Sook-hee and Hideko celebrate their newfound freedom by having sex once again.

Cast

[edit]

Production

[edit]
Seodaemun Prison is featured in the film as a psychiatric hospital

In December 2014, it was reported that Kim Min-hee, Kim Tae-ri, Ha Jung-woo and Cho Jin-woong signed on for the film.[5] Kim Tae-ri was selected from 1,500 candidates to play the role.[6] Shooting for the film began in June 2015 and concluded in October 2015.[7][8]

The print The Dream of the Fisherman's Wife and the book Jin Ping Mei feature in the film.[9]

Locations

[edit]

The film was shot in both Japan and Korea. Kouzuki's mansion with combined elements of Japanese and British architecture was filmed in Kuwana in Mie prefecture in Japan, using the exterior of the Moroto Seiroku Mansion and CGI to augment exterior details.[10] Known as Rokkaen (Japanese: 六華苑), it was designed by British architect Josiah Conder and built in 1913.[11] The interior of the library and the staircase leading to Hideko's bedroom were built as interior sets. The cherry tree from which Hideko's aunt is found hanged was in the gardens of the hospital on Sorok Island in Jeolla, South Korea.

Release

[edit]

In February 2016, CJ Entertainment announced that The Handmaiden was pre-sold to 116 countries, including to Amazon Studios for the US.[12] The film premiered in competition at the 2016 Cannes Film Festival, where it received a standing ovation, and Ryu Seong-hee won the Vulcan Award of the Technical Artist for her art direction work on the film.[13][14][15] The film was also screened in the Special Presentations section of the 2016 Toronto International Film Festival, where The Playlist named it as one of the 15 best films of the festival.[16] In South Korea, the film was released on 1 June 2016 and sold more than 4 million tickets.[17][18][19]

In the United States, the distribution of the film was handled by Amazon Studios and Magnolia Pictures. The film opened in limited release across five cinemas in New York City and Los Angeles,[20][21] and played in 140 additional cinemas in the following weeks.[22] Eventually, the film grossed more than US$2 million in the United States theatrically;[23] the film outgrossed Stoker and became the highest-grossing Park Chan-wook-directed film in the United States.[24] It was released on DVD in the US on 24 January 2017 and Blu-ray on 28 March 2017.[25][26]

In the United Kingdom, the distribution of the film was handled by Amazon Studios and Curzon Artificial Eye. The film grossed more than US$1.8 million in the United Kingdom theatrically, and became the highest-grossing foreign-language film in the UK in 2017.[27]

The original theatrical cut of the film runs 144 minutes. An extended cut, running 168 minutes, was later given a limited theatrical release in the UK and has also been released on home video in some international markets.[28]

Home media

[edit]

In the United Kingdom, it was 2017's fifth best-selling foreign language film on home video, and the year's third best-selling Korean film (behind Operation Chromite and Train to Busan).[29]

Reception

[edit]

Critical response

[edit]

The Handmaiden received critical acclaim. On Rotten Tomatoes, the film has an approval rating of 96%, based on 225 reviews, and an average score of 8.3/10. The site's critical consensus reads, "The Handmaiden uses a Victorian crime novel as the loose inspiration for another visually sumptuous and absorbingly idiosyncratic outing from director Park Chan-wook."[30] On Metacritic, the film holds a weighted average score of 85 out of 100, based on 40 reviews, indicating "universal acclaim".[31] The Economist described the film as a masterpiece.[9] Benjamin Lee of The Guardian ranked it four out of five stars and described it as "a hugely entertaining thriller".[32]

The film's numerous sexually explicit scenes between the two main female characters were criticized by Laura Miller at Slate, who described the scenes as "disappointingly boilerplate" and featuring "visual clichés of pornographic lesbianism, [the actresses'] bodies offered up for the camera's delectation."[33] The New Yorker's Jia Tolentino said that "the women know what they look like, it seems—they are consciously performing for each other—and Park is deft at extracting the particular sense of silly freedom that can be found in enacting a sexual cliché."[34]

Listicles

[edit]

The Handmaiden was listed on numerous critics' top ten lists.[35]

Name of publisher, name of critic, name of listicle, and placement
Publisher Critic Listicle Placement Ref.
RogerEbert.com Danny Bowes Best Film 1st
Dan Callahan Best Film 2nd
The A.V. Club Noel Murray & Katie Rife Best Film 2nd
Film School Rejects Rob Hunter Best Film 2nd
RogerEbert.com Sean Mulvihill Best Film 2nd
The Verge Tasha Robinson Best Film 2nd
CraveOnline William Bibbiani Best Film 2nd
MTV Amy Nicholson Best Film 3rd
CraveOnline Witney Seibold Best Film 3rd
The Daily Beast Jen Yamato Best Film 3rd
Reelviews James Berardinelli Best Film 3rd
L.A. Weekly Bilge Ebiri Best Film 3rd
The Austin Chronicle Kimberley Jones Best Film 4th
Village Voice Scott Tobias Best Film 4th [36]
Chicago Reader Lean Pickett Best Film 5th
The Globe and Mail Kate Taylor Best Film 5th
The Austin Chronicle Josh Kupecki Best Film 5th
Collider Haleigh Foutch Best Film 5th
ScreenCrush Erin Whitney Best Film 5th
DC Outlook Peter Freeman Best Film 5th [37]
Parallax View Sean Axmaker Best Film 6th
Vogue John Powers Best Film 6th
TheWrap Alonso Duralde Best Film 6th
RogerEbert.com Christy Lemire and Peter Sobczynski Best Film 6th
The A.V. Club Mike D'Angelo & A.A. Dowd Best Film 6th
The Arizona Republic Bill Goodykoontz Best Film 7th
RogerEbert.com Matt Zoller Seitz & Brian Tallerico Best Film 7th
The Atlantic Christopher Orr Best Film 7th
The Austin Chronicle Steve Davis Best Film 7th
ScreenCrush Matt Singer Best Film 8th
The Boston Globe Ty Burr Best Film 8th
The Hollywood Reporter Todd McCarthy Best Film 8th
The New York Times Manohla Dargis Best Film 8th
New York Magazine David Edelstein Best Film 8th
The Guardian Reporter Best Film 9th
The Austin Chronicle Marc Savlov Best Film 10th
Paper Dennis Dermody Best Film 10th
San Francisco Chronicle Walter Addiego Best Film Top 10(listed alphabetically, not ranked)
The Guardian Reporter 100 best films of the 21st century list 41st [38]
Reporter the classics of modern South Korean Cinema 1st [39]

Accolades

[edit]
List of awards and nominations
Year Award Category Recipient(s) Result Ref.
2016 Alliance of Women Film Journalists Best Non-English-Language Film Park Chan-wook Won [40][41]
Austin Film Critics Association Best Film The Handmaiden 4th Place [42][43]
Best Director Park Chan-wook Nominated
Best Supporting Actress Kim Min-hee Nominated
Best Adapted Screenplay
Nominated
Best Cinematography Chung Chung-hoon Nominated
Best Foreign Language Film The Handmaiden Won
Blue Dragon Film Awards Best Film Nominated
Best Director Park Chan-wook Nominated
Best Actress Kim Min-hee Won
Best New Actress Kim Tae-ri Won
Best Cinematography Chung Chung-hoon Nominated
Best Art Direction Ryu Seong-hui Won
Best Music Jo Yeong-wook Nominated
Technical Award Jo Sang-kyeong (costume design) Nominated
Boston Society of Film Critics Best Cinematography Chung Chung-hoon Won [44]
Best Foreign Language Film The Handmaiden Won
Buil Film Awards Best Film The Handmaiden Nominated
Best Director Park Chan-wook Nominated
Best Actress Kim Min-hee Nominated
Best New Actress Kim Tae-ri Won
Best Cinematography Chung Chung-hoon Nominated
Best Art Direction Ryu Seong-hui Won
Best Music Jo Yeong-wook Nominated
Buil Readers' Jury Award Park Chan-wook Won
Busan Film Critics Awards Best New Actress Kim Tae-ri Won
Cannes Film Festival Palme d'Or Park Chan-wook Nominated
Queer Palm Nominated
Vulcan Award Ryu Seong-hui Won
Chicago Film Critics Association Best Film The Handmaiden Nominated [45]
Best Director Park Chan-wook Nominated
Best Adapted Screenplay
Won
Best Cinematography Chung Chung-hoon Nominated
Best Foreign Language Film The Handmaiden Won
Best Art Direction Won
Critics' Choice Awards Best Foreign Language Film Nominated [46]
Dallas–Fort Worth Film Critics Association Best Foreign Language Film Won [47]
Director's Cut Awards Best Actress Kim Min-hee Won
Best New Actress Kim Tae-ri Won
Florida Film Critics Circle Best Foreign Language Film The Handmaiden Runner-up [48]
Best Cinematography Chung Chung-hoon Runner-up
Korean Association of Film Critics Awards Top Ten Films of the Year The Handmaiden Won
Best Cinematography Chung Chung-hoon Won
IndieWire Critics Poll Best Film The Handmaiden 7th Place [49]
Best Director Park Chan-wook 5th Place
Best Original Score or Soundtrack The Handmaiden 8th Place
Best Cinematography 4th Place
Best Editing 8th Place
Los Angeles Film Critics Association Best Production Design Ryu Seong-hui Won [50]
Best Foreign Language Film The Handmaiden Won
Melbourne International Film Festival Most Popular Feature Film Runner-up
New York Film Critics Online Best Foreign Language Film Won [51]
San Diego Film Critics Society Best Foreign Language Film Nominated [52][53]
San Francisco Film Critics Circle Best Adapted Screenplay
Nominated [54][55]
Best Foreign Language Film The Handmaiden Won
Best Production Design Ryu Seong-hui Won
St. Louis Gateway Film Critics Association Best Production Design Ryu Seong-hee Won [56]
Best Foreign Language Film The Handmaiden Runner-up
Toronto Film Critics Association Best Foreign Language Film Runner-up [57]
Vancouver Film Critics Circle Best Foreign Language Film Nominated [58]
Washington D.C. Area Film Critics Association Best Foreign Language Film Nominated [59]
Women Film Critics Circle Best Foreign Film by or about Women Won [60]
2017 Apolo Awards Best Film Nominated [61][62]
Best Director Park Chan-wook Nominated
Best Adapted Screenplay
Nominated
Best Cinematography Chung Chung-hoon Nominated
Best Editing Kim Jae-bum, Kim Sang-bum Nominated
Best Production Design Ryu Seong-hui Won
Best Sound Jung Gun, Kim Suk-won Nominated
Best Song "The sound of you coming" (임이 오는 소리) (Gain and Minseo) Won
Best Ensemble Cast Ha Jung-woo, Kim Min-hee, Cho Jin-woong, Kim Tae-ri, Moon So-ri, Kim Hae-sook Nominated
Best New Actress Kim Tae-ri Won
Asian Film Awards Best Supporting Actress Moon So-ri Won [63][64]
Best Newcomer Kim Tae-ri Won
Best Screenplay
Nominated
Best Production Designer Ryu Seong-hui Won
Best Editor Kim Jae-bum and Kim Sang-bum Nominated
Best Costume Designer Jo Sang-kyeong Won
Baeksang Arts Awards Grand Prize Park Chan-wook Won [65][66]
Best Film The Handmaiden Nominated
Best Director Park Chan-wook Nominated
Best Actress Kim Min-hee Nominated
Best Supporting Actor Cho Jin-woong Nominated
Best New Actress Kim Tae-ri Nominated
Best Screenplay
Nominated
Chunsa Film Art Awards Best Director Park Chan-wook Nominated
Best Actress Kim Min-hee Nominated
Best New Actress Kim Tae-ri Nominated
Technical Award Ryu Seong-hui Nominated
Jung Jung Hoon Nominated
Dorian Awards Director of the Year Park Chan-wook Nominated [67]
Foreign Language Film of the Year The Handmaiden Won
LGBTQ Film of the Year Nominated
Visually Striking Film of the Year Nominated
Houston Film Critics Society Best Picture Nominated [68][69]
Best Foreign Language Film Won
National Board of Review Top 5 Foreign Films The Handmaiden Won [70]
National Society of Film Critics Best Foreign Language Film 2nd Place [71]
Online Film Critics Society Best Picture Nominated [72]
Best Foreign Language Film Won
Satellite Awards Best Foreign Language Film Nominated [73]
Saturn Awards Best International Film Won [74]
Best Costume Design Jo Sang-kyeong Nominated
Seattle Film Critics Society Best Picture of the Year The Handmaiden Nominated [75][76]
Best Foreign Language Film Nominated
Best Production Design Ryu Seong-hui Won
Best Costume Design Jo Sang-kyeong Won
2018 British Academy Film Awards Best Film Not in the English Language Park Chan-wook and Syd Lim Won [77]
Empire Awards Best Thriller The Handmaiden Nominated [78][79]
London Film Critics Circle Awards Foreign Language Film of the Year Nominated [80]

See also

[edit]
  • Fingersmith, BBC mini-series that is also based on the book of the same name

References

[edit]
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  80. ^ Ramos, Dino-Ray (28 January 2018). "'Three Billboards' Wins Film Of The Year At London Critics' Circle Awards". Deadline. Retrieved 28 January 2018.
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