The film could be described as a thought-provoking erotic social drama that has elements of a psychological thriller too. It takes place in today's South Korea. The central character is a young woman coming from a poor background, called Eun-yi. She is perhaps a little bit naive and is described in the film as a good person. She is hired as an au-pair girl by a very wealthy family - a lot of the film dwells, directly or indirectly, on the huge gap in wealth between poorer, hard-working South Koreans and the small elite of ultra-rich bourgeois types, who sip expensive red wine and listen to European classical music, living in secluded palatial mansions. Eun-yi is due to help Hae-ra, the beautiful housewife who is pregnant with twins. She is married to a powerful and successful businessman, Hoon. Eun-yi must also look after the couple's young daughter, Nami. Eun-yi moves in and discovers the life of a domestic servant.
Despite the fact the story takes place in South Korea - and unlike what often happens, in my opinion, with Chinese or Japanese films - it is easy for us to relate to the situation, which has an upstairs/ downstairs element to it (think Downton Abbey in 2010, South Korean-style, but far slicker and much sharper). The characters are expressive and we follow their emotions and reactions quite easily, and they are easy to comprehend. The film is very well-made and superb aesthetically. To the social element, i.e. the tension between the social classes, there is, added to the mix, intense erotic tension, as the maid is, inevitably, involved in the intimacy of the couple employing her. This makes for a very interesting and captivating film.
I have 2 reservations, however. The 1st one is that the storyline, somehow, follows a slightly predictable path for much of the lead-up to the climax, which can be a little bit slow at times (i.e. the first 70% of the film). The 2nd one is that the ending, in my view, is not completely convincing or plausible. It only works up to a point. As a result, it is a very good film, but it is not the masterpiece it could have been. 'Parasites', the 2019 South Korean movie also focused on class differences in society, is that masterpiece (and the 2 films are quite different in some ways).
Excellent and understated Korean film, that despite an adult certification restrains itself from any gratuitous imagery with an opening scene of suicide and subsequent themes of a cold revenge for the cold seduction of a housemaid.
The film ‘The Housemaid’ is a Korean remake of director Kim Ki-young’s 1960 film of the same name. The updated version is from director Im Sang-soo . In it, a maid named Eun-yi (Jeon Do-yeon) is hired by an affluent family, in charge of a young girl whose mother is pregnant with twins. At first, Eun-yi’s tasks are easy enough, although there is a looming sense that nothing seems right in the modern-day mansion. When her male employer, the womanizing Hoon (Lee Jung-jae) seduces Eun-yi, she willingly submits to her master and thus starts a deadly dance that may or may not rip the family apart.
‘The Housemaid’ is a hyper-stylized psychological thriller oozing with erotica. The order of the house and minimalist colors of the film hide decrepitude beneath its sleek surface. The characters are the same – they too are not what they seem – and the viewer is reeled in to know what happens next.
Jeon Do-yeon as Eun-yi has the right amount of naivety, sexiness, and cunning that gives ‘The Housemaid’ a conflicted message. Here is a woman who is suddenly thrust into the world of the upper-crust, all glinting with money and power, but she soon realizes that even the rich and powerful have issues. Twisted issues at that.
One of the most interesting characters in ‘The Housemaid’ is its oldest house-servant, Byeong-sik – she has lived with the family the longest, knows the ins and outs, and its dark secrets. For the regular viewer, she may be just the lowly help but you’ll soon realize that she has the upper-hand. She knows everything and her intentions are unclear. She may have been with the family since forever but that doesn’t mean that’s where her loyalties lie.
Korean cinema has always been a hub for ingenious and extraordinary films. Their movie industry is alive and well, and has been garnering attention from international film festivals as of late. ‘The Housemaid’ is a fine example of their sheer creativity – controversial, sexy, conceptual, at times confusing, but totally thought-provoking.