The Housemaid

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'.

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.

The buzz on this film is ringing out loud. A remake of the original film by Kim Ki-young, widely considered one of the top Korean films of all time, this updated version by Im Sang- soo is a lot more revealing and explicit in nature for the modern audience probably sensitized to it, being one of the films selected for competition at this year's Cannes Film Festival, and its two limited screenings during our Korean Film Festival were one of the earliest to have sold out. Needless to say it makes good sense for a commercial release here.

The premise is simple, where Eun-yi (Jeon Do-yeon) got invited by Byung-sik (Yun Yeo-Jong) to serve in an uber-rich household made up of three members - the master of the house Hoon (Lee Jung-jae), his very pregnant wife Haera (Seo Woo) expecting a pair of twins due anytime soon and hence the need for an extra help around the house, and their daughter Nami (Ahn Seo-hyeon) with whom Eun-yi forms a strong friendship with, since a child is non-judgemental on someone's background and social standing.

As much as most would like Eun-yi, a divorcée, to enter the household and see an opportunity to seduce Hoon, this is not that movie, and neither was that the motivation at all. We see the fairly impoverished background that Eun-yi came from, and living amongst the rich and powerful provided a chance to live the high life, since the family is extremely wasteful. With Byung-sik showing her the ropes necessary to do her job, from the bowing to the serving, the cleaning and being at the beck and call of the household members, the hardship probably is well worth it for the perks that come with the job, ones that are beyond the reach of ordinary folks.

So when things turn, you'll find yourself wondering the exact motivation she allowed herself to open up (pardon the pun) to the come hither of the master of the house, who has a penchant for alcohol and being brought up with a silver spoon, there's no such thing as a No to any of his request, although on the outside he may be that rich gentleman, it's not far- fetched to think that these folks would consider money as the basis for all things going their way, and money being the basis to bail themselves out of trouble, and to keep the mouth of others shut. Money as the root of all evil, probably couldn't be more true here if those with the means decide to abuse it, given the mindset of theirs that they can always get away from the blame game.

But what's more engaging in the film is the power play amongst the characters, who are well, mostly female, fawning over the attention, the riches and the ability of what the man in their life can offer. There's Byung-sik being extremely envious with her protégé she introduced to the household, being the unjaded hard and younger worker who earns the trust of the family, and probably she had wanted to show the young upstart her place in the hierarchy established. And of course the main cusp of the problems Eun-yi will face stem from the child in her, threatening the balance of power especially that of mistresses and maid, with stuff that's what television melodramas get made of. To the audience, we don't feel that Eun- yi is of the scheming type, but to the other women, here's a chance of their objectives being detailed by something most unfortunate, a major threat that can come sooner or later in their lives that they have to act, and stop now.

Jeon Do-yeon deserves all the acting accolades she has received thus far for her role, and we feel the pain she has to go through in having traumatic experiences forced upon her just because she's in no position to bargain, until the defining moment in the finale where she gains the upper hand but at what a price at scarring the family for life. I haven't seen Lee Jung-jae in action since Il Mare, and here he does an about turn in a negative role that portrays the caddish behaviour of someone who has it all, while the young Seo Woo portrays the wife that's quite reasonable to begin with, that typical tai-tai but with innocence, until hell hath no fury like a woman scorned.

It is the power struggles and the changing of the household dynamics that makes The Housemaid an engaging watch as we witness an internal rot that was waiting to happen. While it may not reach the heights of Kim Ki-young's original, Im Sang-soo's version still keeps things tight and is a wonderful exploration of how perceived threats redefines relationships especially that amongst those with material benefits. Recommended!

The original South Korean film from the 1960s called The Housemaid is both classist and misogynistic. The poor widdle rich people are the victims in the original flick, and the husband who is but a boy in a man's body is seduced by a wicked witch of a servant....yeah, its pretty bad in terms of glad handing traditional conservative patriarchal values. So refreshingly, the 2010 remake - also from South Korea - turns that nauseating narrative on its head.

Instead, kind but not very bright and recently divorced Eun-yi is humanized by an introduction to her cramped working class life which she shares with a very close but platonic female friend, before she is thrust into the wealthy family that sees her as nothing but an animal. She's overjoyed to have such a cushy position in a big house, and loves the daughter of the spoiled married couple almost like her own child.

The wife is pregnant and utterly horrible (she makes Eun-yi hand wash her dirty panties), and naturally due to her being so close to delivery while carrying twins, she's not particularly interested in having more sex with her entitled, snobbish husband. So he imposes himself upon the young maid and rewards her with extra pay to service his "needs."

The only person in the entire film who seems to have a bit of sense is the elder maid servant, Byung-shik, who helps herself to oysters and wine and sees her lowly position for what it actually is. A petty betrayal of Eun-yi (which she later thoroughly regrets and recants upon) leads to murderous drama, revealing what soulless people the ultra-wealthy family really are.

A beautiful but less satisfying predecessor to class war South Korean film, Parasite.

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.