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The Housemaid (2010)

In all, this is an enchanting, disturbing, slightly above-the-fray look at a highly elite family and the interactions of mother, father, young daughter, and slightly sinister servant. And the new, young, naturally beautiful "housemaid" which is what makes this movie what it is.

It has become so customary to film--shoot cinematographically--at the highest technical and aesthetic level, you sometimes wonder about how a story would subsist without all the visual excess. This is a dramatic, personal story about rich people abusing a good-hearted young woman who becomes their maid. But it is dressed in such elegant, beautiful, truly beautiful visuals, the story takes on an elevation that makes it what it is, something beyond.

You have to decide whether that's a good thing or not.

By the truly astonishing and almost preposterous end you'll be giddy with the slow, careful, deliberate prettiness of it all. I know this second-to-last scene is not meant to be preposterous, but like the key turning point on the ladder halfway through, there is a detachment from the family members that defies and upsets the apparent human intensity implied elsewhere. I suppose the very last scene, which (in its ultra-wide angle shooting) is unlike anything else in the movie, takes us to intentional absurdity, making what we've seen surreal, and in that sense we might revisit the movie and its intentions differently.

It doesn't help to analyze the plot in particular. It's an old story--and better developed, narratively, in several other movies. The beautiful young maid is disruptive, even without trying, eventually drawing the father into the inevitable, and the mother, too, in her own way. A mother-in-law takes on an evil role, but with such cool and prettified distance it's hard to quite feel. And this movie really has at its core the problem of being understood rather than felt.

The leading character--the housemaid--is absolutely sympathetic and well done. (This is Do-Yeon Jeon, a Korean actress with little exposure in Western cinema.) You do get the sense that this is a "knowing" film throughout--it has the intentions of being a serious new Korean film. And it is based, loosely, on one of the truly great Korean classic movies, a 1960 movie with the same name. Here, though, you'll definitely find a coolness and a lack of true emotional involvement that runs counter to the high production values. It's a film that could have been something much more than it ended up being, in terms of content at least. But it's totally engaging in its steady slowness, so if you like films partly for being well shot, give this a try.

You'd better watch the original movie, 'The Housemaid' directed by Ki-Young Kim in 1960, which is one of the first and finest Korean movie I've seen so far. Compared to the original version, The Housemaid (2010) is really deceiving.

The first hour is OK, but then it gets really boring, even though the acting isn't that bad. It's just a pity that such good actors' talent was wasted (see Do-Yeon Jeon in 'Sunshine (2007)' and Jung-Jae Lee in 'New World (2013)').

Not to mention the ending, which reminded me Brian De Palma's 'The Fury', deceiving too.

A South Korean soap opera, The Housemaid is a combination of Fatal Attraction, In the Mood for Love, and myriad other adultery thrillers. Its sensual sheen and quiet sexuality underpin a grim war between servants and the ruling class with no one winning.

Adapted from an earlier Korean version by director Sang-soo Im, it tells of naïve Eun-yi (Jeon Do-yuon) being hired as a maid in a wealthy household, whose head, Hoon (Jung-Jae-Lee), takes her as a love interest while his pregnant wife comes to term and the other ladies gradually find out that Eun-yi is pregnant as well. While the house is meticulously modern and opulent, an undercurrent of evil runs through it as if it were a Poe tale.

Although at times Housemaid moves slowly, especially in the mid section, no audience could be indifferent to the haughty treatment of the servants by the rich, who treat them as you might think Thomas Jefferson treated his own slaves, with decorum but decidedly selfish and cruel. Eun-yi is not totally innocent, for she enjoys the master's attention, and Hoon can be partially forgiven because of the harpies like his wife and mother-in-law, who treat him like a child, or in the case of his wife, ignore his sexual needs except to create children. That he plays a mean classical piano and drinks wine like an aristocrat used to the fineness of wealth, Hoon is partially an animal of the lowest order, giving in to his appetites protected by his wealth and his ladies.

The final moments are the payoff as most everyone in not spared humiliation or violence. Although the connection between the opening and closing is a bit too much of a figurative and literal connection, The Housemaid holds up admirably as Gothic horror in a modern Asian setting replaying the themes of class conflict and revenge.

This reminded me of Ki-duk Kim films and the visual style of Park Chan-wook films. It's basically a remake of the 1960's movie, that basically has to do with the downfall of a housemaid from working in some rich guy's house. Although the 2010 version differs from the original in many aspects, but that doesn't necessarily mean a bad thing because it has it's own style to hold it's own. Jeon Do-Yeon plays a sweethearted and kind housemaid that grew up in a harsh environment and tries to make a living by becoming a housemaid. Her performance was amazing and Seo Woo did a decent job of playing the spoiled brat as always. And later gets tormented by the wife and the wife's mother of the house, in a very vicious manner. In fact the whole family is crazy except the daughter. This is a dark movie with a handful of sex scenes and graphic parts. There are few foreshadowing in this, but the end irritated me, because karma does not come into play. But it just shows the dark side to reality.

7.9/10

The Housemaid tells an erotic tale of seduction, affair and scheming people all out to get their own way. Do-yeon Jeon plays Eun-Yi Li who is hired as a maid for an extravagant rich family - the wife is currently pregnant with two twin boys, they already have a little daughter and the husband is a very business businessman but just so happens to have time to fool with many women (supposedly) and one of them...surprise! just happens to be Eun-Yi.

The storyline is pretty typical and you can see where things will go so it didn't come as a surprise to me at all. What the film touches on is the schemes of the high class society in terms of their lifestyle and thinking that money can usually solve their problems. It also touches on the fact that the upper class often have not a lot of time on their hands - but not much really to do with it to entertain themselves.

The flaw of this film is that the main character of Eun-Yi - I didn't particularly sympathise with her. I guess it is because I found her decisions a bit stupid and you didn't really know much about her besides the fact that she was of lower class and really likes kids. In fact, I sort of didn't really hate the wife of the husband as she was actually quite decent to Eun-Yi, though you obviously can see that she is a victim in terms of her husband's infidelities.

One character that stood out for me was Miss Cho - who is the head housemaid in the mansion. You first see her as a very strict, no nonsense type of woman but during the film you see how she also is highly observant (typical butler/maid nosiness) and also has her fair share of mixed feelings towards the inhabitants of the house.

Now for the ending - won't spoil anything here. I can see why some people feel that the ending doesn't really do the film justice - I agreed at first but the more you think about it - the more the message is there. The ending I think really gets its message in the fact that the upper class can easily forget things and get on with their repetitive lives thinking they are on top and their materialism will drown out all bad memories or problems. The ending certainly won't work for some and while I feel more could have been put into it, it certainly does leave an impression the more you think about it.

The film is not perfect - a lot of decisions Eun-Yi makes didn't really make me feel empathetic due to the fact that I think she isn't a highly likable character nor a partcularly interesting one - they are sort of card board cut outs in my opinion.

Overall however, this is simply a film about a love affair and the consequences of it - I don't blame you if you watch this and you feel like 'this is something I've seen before too many times'.