Lady Vengeance

I had the luxury of watching this last night and was awed by it's sheer brilliance. I don't want to delve into the story, as you must see it for yourself to savor the fantastic story like a glass of red wine.

The story revolves around a young woman sentence to jail due to murdering a young boy. Upon release she then embarks on a journey of redemption for the crime committed.

The cast's acting is impeccable on all sides. with sumptuous photography and a moving musical score consisting of such great composers as Vivaldi.

If you are a lover of foreign cinema this is a definite DO NOT MISS movie!

After thirteen and half years in prison for kidnapping and murdering the boy Park Won-mo, Geum-ja Lee (Yeong-ae Lee) is released and tries to fix her life. She finds a job in a bakery; she orders the manufacturing of a special weapon; she reunites with her daughter, who was adopted by an Australian family; and she plots revenge against the real killer of Won-mo, the English teacher Mr. Baek (Min-sik Choi). With the support of former inmates from prison, Geum-ja seeks an unattained redemption with her vengeance.

"Lady Vengeance" is a very dark tale of vengeance and search for redemption. The screenplay is confused in some moments, using symbols and metaphors, but the story is engaging blending black humor and unpleasant and bold scenes of torture and death of children with a harsh revenge. Yeong-ae Lee has a magnificently performance in the role of Geum-ja along almost fourteen years of her life. I am a big fan of Chan-wook Park, and I regret that in Brazil the first movie of his trilogy about vengeance ("Boksuneun Naui Geot" a.k.a. "Sympathy for Mr. Vengeance") has not been released yet. My vote is eight.

Title (Brazil): "Lady Vingança" ("Lady Vengeance")

i usually don't enjoy movies that contain gore, suspense, and violence. still, sympathy for lady vengeance was undoubtedly, a movie worth watching. even for those who actively dislike movies in this certain genre, sympathy for lady vengeance is an absolute must. out of the trilogy, this one was the one i enjoyed most. there was nothing overly-excessive and/or gratuitous (which i honestly found oldboy and sympathy for mr vengeance had a bit of), and it definitely cannot be considered a brain-candy film. with an extremely intelligent and interesting plot, and visually stunning cinematography, it was a spectacular piece of art, from the start to the finish, and had me thinking about it and talking about it for days afterward.

Aged 19, Geum-ja Lee confesses as the woman who abducted and murdered the child Won-mo Park. At the time the tabloids cause a clamour against her but this dies down once she is inside and forgotten. She is reached out to inside and finds faith and redemption. However almost 14 years later she is released and decides she no longer has need for this and sets out to catch up with those she knew from inside her prison, all the while working up to her plan to take revenge on the man who robbed her of this chunk of her life.

Having surprised myself by how much I liked Oldboy, I decided to watch this film as a follow-up. For the majority of it, the story has enough to it to hold the interest easily; the actual core deed is not as interesting on its own as it is shorn of the mystery of Oldboy, however in theory this means it is more about the people and the emotional impact of the act and the vengeance more than the violence. I say in theory because I must be honest and say that I found it a lot less emotionally engaging than I would have liked. In some ways it is strong in this area but mostly it didn't have the heart that I thought it was trying to get to. The narrative is still enough to fill the running time but the second half is, dare I say it, a bit duller than it should have been just because the humanity wasn't there.

Park must shoulder some responsibility for this but he does make up for it with the style and delivery that drew me into Oldboy. He has scaled it back from that (hence the feeling that this was meant to be more about the heart) but it is still visually engaging and uses various techniques to enhance the delivery. Yeong-ae Lee appears to have been given more insight into the material than I was because her delivery is full of emotion and hurt. She brings it out whenever she can but for some reason the film generally doesn't support her in this. The support cast are mostly good but the film belongs to her and is best when the scenes centre on either her story or her character.

Overall though, not as good as the praise and ratings here would suggest but still an engaging film on several levels. Stylish and interesting it only stuttered by being surprisingly emotionally muted for large chunks where I felt it needed to be more convincing and impacting. Fans of the other Park films will enjoy it as a conclusion to the trilogy but it is hard not to feel that it could have done more.

Chan-Wook Park was already the Master of Dysfunction after Old Boy, now he can add the title of King of Pain (thanks Sting) to his CV.

The depth of feeling in the second half of this film is staggering, and comes in stark contrast to the startling apathy of the first half. The masterful cinematography is something we have come to expect but the director's ability to compose the most evocative of tableaux never ceases to amaze- the final shot of the movie being a case in point.

As the above reviewer says, one must be cryptic in commenting on this film but it must be said that its final act really transforms it from a beautifully crafted work into a masterpiece.

This is a film which shocks without ever descending into gratuity, while frequently forcing a guilty laugh with its darker-than-black's-shadow humour.