Im Sang-soo’s The Housemaid bares more of a resemblance to the erotic, psychological thriller terrain explored in a Fatal Attraction, than the triptych Kim Ki-young classic 1960 film. In a more MTV Cribs-styled setting, The Housemaid employes a few more characters than in the original – think of Glenn Close’s character being split into a foursome of diligently crafted female characters with anterior motives, and from a loosely based treatment of the original, Sang-soo works with blue print curious about spatial settings, and assigned class and gender roles being housed under one roof, but manages to build only pseudo representations. Despite the sillier elements and not to mention an even more perplexing climax, there is an upside to the pic in terms of its aesthetic and some of the edgier elements describing the different posits between characters. With a Cannes label on it, this could be a surprise breakout film for the Korean filmmaker.
The aftermath of what occurs when the rich upper class disposes of domestic help is possibly foreshadowed in the film’s opening sequence – a young woman puts an end to her life and witness to the event is the new help – a curious, naive and fit for the job servant played by Jeon Do-Youn. Sang-soo follows the DNA of the original, but is more interested in how the patriarchal king and female monarchs keep that protective barrier intact. The formula for a quiet manifestation of anarchy in the home is a result of wine slurping, an asymmetric power relationship and no signed insubordination clauses. The sadistic tone of the film is best exemplified in how the one who reigns in this lavish home treats the subverted principle character, and this cesspool is heightened by the presence of Seo Woo who appears to play only the trophy wife role, is actually one with a pretty firm masochistic hand, and the older maid amusingly played by Youn Yuh-Jung who weighs an introspective battle of her own.
The set, its decor and camera work all contribute to a handsomely shot flick, but this version of The Housemaid is too anchored in the style over substance mindset — it menders out of the filmmaker’s control leaving us with half-built characters that are of interest because of their maniacal frame of mind but are full of ennui – even the protagonist who accepts her subservient role of lacks a more rounded raison d’etre.
Reviewed at the 2010 Cannes Film Festival. Main Competition Section.
107 Mins. May, 13th, 2010
