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The Handmaiden (Korean: 아가씨; RR: Agassi; lit. '"Lady"') is a 2016 South Korean psychological thriller film directed 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 | |
|---|---|
 Theatrical release poster | |
| Hangul | 아가씨 |
| Revised Romanization | Agassi |
| Directed by | Park Chan-wook |
| Written by |
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| Based on | Fingersmith by Sarah Waters |
| Produced by |
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| Starring | |
| Cinematography | Chung Chung-hoon |
| Edited by |
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| Music by | Jo Yeong-wook |
Production companies |
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| Distributed by | CJ Entertainment |
Release dates |
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Running time | 144 minutes[1] |
| Country | South Korea |
| Languages |
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| Budget | ₩10 billion (approx. $8.8 million)[2] |
| Box office | $38.6 million[3][4] |
The film 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. The film received critical acclaim, with praise for its performances, direction, and writing. It grossed over $38 million worldwide. At the 71st British Academy Film Awards, the film won the category of Best Film Not in the English Language.
Plot
Part 1
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 in order 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 further accumulate 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 sleep next to her. The two end up making love, under the pretext of preparing Hideko for her married life with the Count. Sook-hee begins expressing reluctance about the plan, but when Hideko herself suggests she loves someone other than the Count, Sook-hee insists on the marriage. Hideko slaps her and violently throws her from the room.
When Kouzuki leaves on business for a week, Hideko and Fujiwara elope. After cashing 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 is the "Countess" to have her committed in Hideko's stead.
Part 2
A series of flashbacks show that Hideko's “reading practice” was in fact Kouzuki teaching her to erotically 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 hanged from a tree in the yard, and so Hideko takes over as the reader for the auctions. When Hideko questions the description of a 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 gifts her a vial of opium with which to commit suicide, so that she can never be taken to the basement alive. 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 on, Hideko throws her from the room and 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, and to hatch 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
After leaving Sook-hee at the asylum, Fujiwara and Hideko eat together, where Fujiwara wants Hideko 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 Sook-hee. Hideko doses Fujiwara's wine with drops from the opium vial, causing him to pass out while she takes the money and leaves. The women reunite and flee together, disguising Hideko as a man to avoid detection.
Kouzuki captures Fujiwara upon 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 own hand on a knife to stain her sheets, 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. Fujiwara reveals that his cigarettes had been laced with mercury and the toxic gas within the smoke kills them both.
On a ferry to Shanghai, China, Sook-hee and Hideko celebrate their newfound freedom by making love once again.
Cast
- Kim Min-hee as Lady / Izumi Hideko
- Kim Tae-ri as Maid / Nam Sook-hee
- Ha Jung-woo as Count Fujiwara
- Cho Jin-woong as Uncle Kouzuki
- Kim Hae-sook as Madame Sasaki
- Moon So-ri as Hideko's aunt
- Lee Yong-nyeo as Bok-soon
- Lee Dong-hwi as Goo-gai
- Jo Eun-hyung as young Hideko
- Rina Takagi as Hideko's mother
- Han Hannah as Junko
- Lee Ji-ha as Owner of Ryokan
- Jeong Ha-dam as Housemaid
- Choi Byung-mo as Audience member
Production
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 books The Dream of the Fisherman's Wife and Jin Ping Mei were featured in the film.[9]
Locations
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
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 $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 March 28, 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 $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
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
Critical response
The Handmaiden received critical acclaim. On Rotten Tomatoes, the film has an approval rating of 95%, based on 210 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 84 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] However, 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]
Top ten lists
The Handmaiden was listed on numerous critics' top ten lists.[35]
- 1st – Danny Bowes, RogerEbert.com
- 2nd – Dan Callahan, RogerEbert.com
- 2nd – Noel Murray & Katie Rife, The A.V. Club
- 2nd – Rob Hunter, Film School Rejects
- 2nd – Sean Mulvihill, RogerEbert.com
- 2nd – Tasha Robinson, The Verge
- 2nd – William Bibbiani, CraveOnline
- 3rd – Amy Nicholson, MTV
- 3rd – Witney Seibold, CraveOnline
- 3rd – Jen Yamato, The Daily Beast
- 3rd – James Berardinelli, Reelviews
- 3rd – Bilge Ebiri, L.A. Weekly
- 4th – Kimberley Jones, The Austin Chronicle
- 4th – Scott Tobias, Village Voice[36]
- 5th – Lean Pickett, Chicago Reader
- 5th – Kate Taylor, The Globe and Mail
- 5th – Josh Kupecki, The Austin Chronicle
- 5th – Haleigh Foutch, Collider
- 5th – Erin Whitney, ScreenCrush
- 5th – Peter Freeman, DC Outlook[37]
- 6th – Sean Axmaker, Parallax View
- 6th – John Powers, Vogue
- 6th – Alonso Duralde, TheWrap
- 6th – Christy Lemire and Peter Sobczynski, RogerEbert.com
- 6th – Mike D’Angelo & A.A. Dowd, The A.V. Club
- 7th – Bill Goodykoontz, The Arizona Republic
- 7th – Matt Zoller Seitz & Brian Tallerico, RogerEbert.com
- 7th – Christopher Orr, The Atlantic
- 7th – Steve Davis, The Austin Chronicle
- 8th – Matt Singer, ScreenCrush
- 8th – Ty Burr, The Boston Globe
- 8th – Todd McCarthy, The Hollywood Reporter
- 8th – Manohla Dargis, The New York Times
- 8th – David Edelstein, New York Magazine
- 9th – The Guardian
- 10th – Marc Savlov, The Austin Chronicle
- 10th – Dennis Dermody, Paper
- Top 10 (listed alphabetically, not ranked) – Walter Addiego, San Francisco Chronicle
In 2019, The Guardian ranked The Handmaiden 41st in its 100 best films of the 21st century list.[38] In 2020, The Guardian also ranked it number 1 among the classics of modern South Korean Cinema.[39]
Accolades
| List of awards and nominations | ||||
|---|---|---|---|---|
| Year | Award | Category | Recipient(s) | Result |
| 2016 | Alliance of Women Film Journalists[40][41] | Best Non-English-Language Film | Park Chan-wook | Won |
| Austin Film Critics Association[42][43] | Best Film | The Handmaiden | 4th Place | |
| Best Director | Park Chan-wook | Nominated | ||
| Best Supporting Actress | Kim Min-hee | Nominated | ||
| Best Adapted Screenplay | Park Chan-wook and Chung Seo-kyung | Nominated | ||
| Best Cinematography | Chung Chung-hoon | Nominated | ||
| Best Foreign Language Film | The Handmaiden | Won | ||
| Blue Dragon Film Awards | Best Film | The Handmaiden | 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-hee | Won | ||
| Best Music | Jo Yeong-wook | Nominated | ||
| Technical Award | Jo Sang-kyeong (costume design) | Nominated | ||
| Boston Society of Film Critics[44] | Best Cinematography | Chung Chung-hoon | Won | |
| 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-hee | 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 | Park Chan-wook | Nominated | ||
| Vulcan Award | Ryu Seong-hee | Won | ||
| Chicago Film Critics Association[45] | Best Film | The Handmaiden | Nominated | |
| Best Director | Park Chan-wook | Nominated | ||
| Best Adapted Screenplay | Park Chan-wook and Chung Seo-kyung | Won | ||
| Best Cinematography | Chung Chung-hoon | Nominated | ||
| Best Foreign Language Film | The Handmaiden | Won | ||
| Best Art Direction | The Handmaiden | Won | ||
| Critics' Choice Awards[46] | Best Foreign Language Film | The Handmaiden | Nominated | |
| Dallas–Fort Worth Film Critics Association[47] | Best Foreign Language Film | The Handmaiden | Won | |
| Director's Cut Awards | Best Actress | Kim Min-hee | Won | |
| Best New Actress | Kim Tae-ri | Won | ||
| Florida Film Critics Circle[48] | Best Foreign Language Film | The Handmaiden | Runner-up | |
| 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[49] | Best Film | The Handmaiden | 7th Place | |
| Best Director | Park Chan-wook | 5th Place | ||
| Best Original Score or Soundtrack | The Handmaiden | 8th Place | ||
| Best Cinematography | The Handmaiden | 4th Place | ||
| Best Editing | The Handmaiden | 8th Place | ||
| Los Angeles Film Critics Association[50] | Best Production Design | Ryu Seong-hee | Won | |
| Best Foreign Language Film | The Handmaiden | Won | ||
| Melbourne International Film Festival | Most Popular Feature Film | The Handmaiden | Runner-up | |
| New York Film Critics Online[51] | Best Foreign Language Film | The Handmaiden | Won | |
| San Diego Film Critics Society[52][53] | Best Foreign Language Film | The Handmaiden | Nominated | |
| San Francisco Film Critics Circle[54][55] | Best Adapted Screenplay | Park Chan-wook and Chung Seo-kyung | Nominated | |
| Best Foreign Language Film | The Handmaiden | Won | ||
| Best Production Design | Ryu Seong-hee | Won | ||
| St. Louis Gateway Film Critics Association[56] | Best Production Design | Ryu Seong-hee | Won | |
| Best Foreign Language Film | The Handmaiden | Runner-up | ||
| Toronto Film Critics Association[57] | Best Foreign Language Film | The Handmaiden | Runner-up | |
| Vancouver Film Critics Circle[58] | Best Foreign Language Film | The Handmaiden | Nominated | |
| Washington D.C. Area Film Critics Association[59] | Best Foreign Language Film | The Handmaiden | Nominated | |
| Women Film Critics Circle[60] | Best Foreign Film by or about Women | The Handmaiden | Won | |
| 2017 | Apolo Awards[61][62] | Best Film | The Handmaiden | Nominated |
| Best Director | Park Chan-wook | Nominated | ||
| Best Adapted Screenplay | Park Chan-wook, Jeong Seo-kyeong | Nominated | ||
| Best Cinematography | Chung Chung-hoon | Nominated | ||
| Best Editing | Kim Jae-bum, Kim Sang-bum | Nominated | ||
| Best Production Design | Ryu Seong-hie | 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[63][64] | Best Supporting Actress | Moon So-ri | Won | |
| Best Newcomer | Kim Tae-ri | Won | ||
| Best Screenplay | Park Chan-wook and Chung Seo-kyung | Nominated | ||
| Best Production Designer | Ryu Seong-hee | Won | ||
| Best Editor | Kim Jae-bum and Kim Sang-bum | Nominated | ||
| Best Costume Designer | Jo Sang-kyeong | Won | ||
| Baeksang Arts Awards[65][66] | Grand Prize | Park Chan-wook | Won | |
| 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 | Park Chan-wook and Chung Seo-kyung | 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 Sung Hee | Nominated | ||
| Jung Jung Hoon | Nominated | |||
| Dorian Awards[67] | Director of the Year | Park Chan-wook | Nominated | |
| Foreign Language Film of the Year | The Handmaiden | Won | ||
| LGBTQ Film of the Year | The Handmaiden | Nominated | ||
| Visually Striking Film of the Year | The Handmaiden | Nominated | ||
| Houston Film Critics Society[68][69] | Best Picture | The Handmaiden | Nominated | |
| Best Foreign Language Film | The Handmaiden | Won | ||
| National Board of Review[70] | Top 5 Foreign Films | The Handmaiden | Won | |
| National Society of Film Critics[71] | Best Foreign Language Film | The Handmaiden | 2nd Place | |
| Online Film Critics Society[72] | Best Picture | The Handmaiden | Nominated | |
| Best Foreign Language Film | The Handmaiden | Won | ||
| Satellite Awards[73] | Best Foreign Language Film | The Handmaiden | Nominated | |
| Saturn Awards[74] | Best International Film | The Handmaiden | Won | |
| Best Costume Design | Jo Sang-kyeong | Nominated | ||
| Seattle Film Critics Society[75][76] | Best Picture of the Year | The Handmaiden | Nominated | |
| Best Foreign Language Film | The Handmaiden | Nominated | ||
| Best Production Design | Ryu Seong-hee | Won | ||
| Best Costume Design | Jo Sang-kyeong | Won | ||
| 2018 | British Academy Film Awards[77] | Best Film Not in the English Language | Park Chan-wook and Syd Lim | Won |
| Empire Awards[78][79] | Best Thriller | The Handmaiden | Nominated | |
| London Film Critics Circle Awards[80] | Foreign Language Film of the Year | The Handmaiden | Nominated | |
See also
- Fingersmith, BBC mini-series that is also based on the book of the same name
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External links
На других языках
[de] Die Taschendiebin
Die Taschendiebin (international The Handmaiden) ist ein Film des südkoreanischen Regisseurs Park Chan-wook aus dem Jahr 2016, inspiriert durch den Roman Fingersmith („Solange du lügst“) von Sarah Waters.[2] Die Hauptrollen spielen Kim Min-hee, Kim Tae-ri, Ha Jung-woo und Cho Jin-woong. Der Film spielt im Korea und Japan der 1930er Jahre und folgt einer wohlhabenden Erbin, die sich in ihr Dienstmädchen verliebt.- [en] The Handmaiden
[it] Mademoiselle (film 2016)
Mademoiselle (아가씨?, Ah-ga-ssiLR), noto anche come The Handmaiden, è un film del 2016 diretto da Park Chan-wook.[ru] Служанка (фильм, 2016)
«Служанка» (кор. 아가씨, агасси, дословно — «Девушка») — южнокорейский эротический триллер режиссёра Пак Чхан Ука, вышедший в прокат в республике Корея 1 июня 2016 года. Премьера на Каннском фестивале состоялась 14 мая 2016 года, где фильм демонстрировался под французским названием «Мадемуазель» (Mademoiselle). Английское название фильма The Handmaiden. Главные роли в нём исполнили Ким Мин Хи, Ким Тхэ Ри и Ха Чон У[3]. Фильм основан на романе Сары Уотерс «Тонкая работа[en]», действие которого перенесено из Британии Викторианской эпохи в Корею под властью Японии[4][5]. Съёмки проходили с середины 2015 года по 31 октября[6][7]. Фильм участвовал в борьбе за «Золотую пальмовую ветвь» на Каннском кинофестивале 2016[8][9][10][11][12].Другой контент может иметь иную лицензию. Перед использованием материалов сайта WikiSort.org внимательно изучите правила лицензирования конкретных элементов наполнения сайта.
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