On the surface this is a remake of the 1960 Korean classic with the same title. The simple plot remains the same: a housemaid cum nanny hired into a rich family in anticipation of a second childbirth becomes sexually involved with the master and gets herself pregnant. The protagonist's character, however, has been completely reversed. In the original, the protagonist Eun-yi was a scheming villain that purportedly caused the audience to scream "Kill the bitch". In this updated (cell phone included) version, she is somewhat of an enigma but with one distinct, clear attribute – complete incapability of any malice.
The slow-burn drama happens almost entirely in the plush mansion – a jaw-dropping set design in its own right. The simple ensemble of support characters comprises the superficially charming and talented master, his young, pretty and pregnant (with twins) wife, their innocent pre-teen daughter, the typical sultry matron-type housekeeper and, later, his young-looking mother-in-law who arrives on the scene to "protect" her pregnant daughter. The story unfolds slowly, minimalistic and almost uneventful: master's "taking" of Eun-yi, discovery of the pregnancy, the three women ganging up on her, master's unconcerned, callous reaction and the dramatic, climatic finale that is stunning more in the sense of being farcical than being nerve-shattering. So what is the point?
The fascination of this movie rests with Cannes Best Actress Jeon Do-yeon's portrayal of the protagonist that takes the word enigmatic beyond its usual definition. As I mentioned, this character seems almost entirely incapable of malice. While there are examples aplenty throughout the movie, one of the best is when she is repeatedly slapped, with the three women surrounding her. She seems devoid of the normal reaction of anger (a natural reflex even if one acknowledges being in the wrong) but simply enquires why. Although she is not exactly carnal Snow White (being a divorcée), the sexual liaison is initiated entirely by the master. Most intriguing is her facial expression during the first of such encountera when master starts to fondle her body. At times, Eun-yi displayed such a childlike simplicity that she almost looks like a simpleton and then there seems to be a part of her mental working that one cannot fathom. I have posted over 800 IMDb user reviews and watched a lot more but I have never come across a character quite like this one.
Other things critics have pointed out is the anti-rich subtext (quite a savage attack on the contemptible rich), or an exercise in Hitchcock style. But by far the focus is on Jeon Do-yeon.
The slow-burn drama happens almost entirely in the plush mansion – a jaw-dropping set design in its own right. The simple ensemble of support characters comprises the superficially charming and talented master, his young, pretty and pregnant (with twins) wife, their innocent pre-teen daughter, the typical sultry matron-type housekeeper and, later, his young-looking mother-in-law who arrives on the scene to "protect" her pregnant daughter. The story unfolds slowly, minimalistic and almost uneventful: master's "taking" of Eun-yi, discovery of the pregnancy, the three women ganging up on her, master's unconcerned, callous reaction and the dramatic, climatic finale that is stunning more in the sense of being farcical than being nerve-shattering. So what is the point?
The fascination of this movie rests with Cannes Best Actress Jeon Do-yeon's portrayal of the protagonist that takes the word enigmatic beyond its usual definition. As I mentioned, this character seems almost entirely incapable of malice. While there are examples aplenty throughout the movie, one of the best is when she is repeatedly slapped, with the three women surrounding her. She seems devoid of the normal reaction of anger (a natural reflex even if one acknowledges being in the wrong) but simply enquires why. Although she is not exactly carnal Snow White (being a divorcée), the sexual liaison is initiated entirely by the master. Most intriguing is her facial expression during the first of such encountera when master starts to fondle her body. At times, Eun-yi displayed such a childlike simplicity that she almost looks like a simpleton and then there seems to be a part of her mental working that one cannot fathom. I have posted over 800 IMDb user reviews and watched a lot more but I have never come across a character quite like this one.
Other things critics have pointed out is the anti-rich subtext (quite a savage attack on the contemptible rich), or an exercise in Hitchcock style. But by far the focus is on Jeon Do-yeon.