as Art "Lady Vengeance" Uhm Si compie la trilogia , si estinguono i debiti vs creditori ^^ ... dopo il non meraviglioso Mr. Vendetta e lo stupefacente Old boy ... it's his turn, turn divine ... spectacular photography and attention to color (red and white everywhere) ... music to say the least capable and perfect for situations, mounting decidedly more American ...
LADY VENDETTA - Simpathy for Lady Vengeance
DIRECTOR: Park Chan-Wook
PRODUCTION: South Korea - 2005 - Action / Thriller
LENGTH: 112 '
CAST: Lee Young-Ae, Choi Min-Sik, Yoo Ji-Tae, Bae Du-Na, Go Su-Hee, Kang Hye-Jeong
SCREENPLAY: Jeong Seo-Gyeong - Park Chan-WookFOTOGRAFIA: -Jeong Jeong Hun
DESIGN: Jo Hwa-Seong
ASSEMBLY: Jae-Beom Kim - Kim Sang-Beom
COSTUMES: Jo Sang-Gyeong
MUSIC: Jo Yeong-wook
Plot:
Geum-ja (Lee Young-ae), so beautiful that it can not fail to attract the attention of all men, is accused of having previously killed a child kidnapped. Painted by the media as a monster, is arrested and jailed. In jail for 13 long years, maintains exemplary conduct, which has earned the nickname "Sweet". Inwardly, however, has planned a terrible revenge, weaving a network of friendships and alliances. Once out of prison, Geum-ja gives chase to his old teacher, who probably has to do with his arrest ...
Reviews:
The last time I have avenged :
What the director is brilliant behind the camera, we had fully discharged without asking OLD BOY, and his figurative skills already indisputable, is here confirmed in a building thoroughly perverted (the amazing opening credits, which run metaphor for a bloody hand) that any director would pose only average. A fugitive, this time, is the inspiration: a beautiful young lady and close your account with ruthless vengeance, but applying it to the global women has already been expressed, the construct almost the way, the stroke of genius sometimes falls into nothingness. Work therefore unresolved and swinging, essentially non-communicative, which enters its best moments (these yes indeed memorable) in the description of each picture (the women's prison), the paradox of places and situations (the carnage of the alliance) in the boldness and color combination (the final snow). The writing, the Achilles heel in previous releases of Park Chan-Wook, here never exceeds a trigger level pasting a sterile ethical background, easy and sleeves, the story told, in the same way the Korean confirmation and sign a talent outside the lines, damn funny at times, which would require far more ink to really get excited.
[Emanuele Di Nicola]
Triangle checked:
concluding part of the "trilogy of revenge" by Park Chan-wook, "Lady Vengeance" turns to women what "Old Boy" had declined in the masculine. The starting point is similar: an injustice that deprives the protagonist of years of life, the reconstruction of the events and the terrible day of reckoning. The first part follows "Old Boy" especially in the construction of the story, with the scanning of events that proceeds by association of ideas, before wrong-footing (the viewer has no way to tell who are the characters and what they're doing), and then clarifying Finally, for the boldness of the narrative fascinating. The progress, far from being linear, it gives the same feeling of pleasant light-headedness, relying heavily on visual talent by Korean director, once again able to create dazzling sequences for picture composition and page layout. When put in the clear motivation of the protagonist (the talented Lee Young-ae), however, that there's no space for the execution of vengeance (debtor's "Murder on the Orient Express" by Agatha Christie). The irony is declining, the visual inventions calm down, these are the temptations of gore and heavy, with lots of explanation of a sense of sin, takes over. The change log does not diminish the ability of directing Park Chan-wook, but to bite off his vision. If "Old Boy" was playing with the archetypes of classical tragedy by building a strong and compelling story, with "Lady Vengeance" the settling of scores becomes less stratified, less poses questions, and, therefore, offers less points of interest. Applause from the headlines.
[Luca Baroncini]
Lady Vengeance: Candid petals of snow:
into visual imagery of the Western viewer has now become the law of Eastern cinema is talk of the classic horror that now depopulated throughout the globe (think only of the success of "The Ring") through the beautiful, dreamy action movies, to get to that arthouse cinema that sees the emergence of talented directors and sensitivity out of the ordinary (Kim Ki Duk, to name one of the best). Park Chan-Wook, that with this "Lady Vengeance" trilogy completes a hypothetical that pearls were the other two "A" Sympathy for Mr. Vengeance "and" Old Boy ", is in an imaginary middle way trying to adopt multiple styles, making his film a mixture of genres, trying to address more issues in the same film, and having as reference a feeling that is called revenge, seen as a primordial instinct of which his characters can not break free, that torments them, gripping them, giving it a dark spiritual force capable to overcome every kind of obstacle. In terms of visual this author is literally unbelievable, managing to make each sequence is a little gem from the headlines until the final poetic and candid, finding time to time a visually original, something not seen it yet, that allows this art of making a step towards innovation, seeding the visual cues that will bear fruit not only in its future accomplishments, but surely act as a stimulus for other authors which are part of this path traced by Park Chan-Wook. Remain, however legitimate and necessary to move a criticism of the script, which does not reach the quality standards the visual part, it is clear that on this point, the director will have to persevere and improve in the future work to overcome the limits of narrative occurred in the first three works, which make the final yield good but not excellent work as could be. "Lady Vengeance" is a magnificent vision of a woman's life dominated by guilt and his desire for redemption that will take her along a road of blood and violence from which he will never get out completely, because their sins if they are too large can not be erased in any way from the consciousness, will always be a ballast that will leave us in the port of sinners. In the final poetic and poignant play extreme opposition to color, there is all the poetry of a film that knows how to excite and even moved the audience, the "works" coming from the east, they are, they are still worthy of that title.
[Matthew Caton]
Comments:
And then came the snow
get the feeling from a distance. The clicking of her high heels in red lacquer resounding empty spaces, dull. Sound waves propagate in the air, while the noise grows, impetuous and relentless, but the steps of a woman who has decided to quench his thirst, but there's more. It 's the sound of revenge that grows, and it flares up ... then leave? Nothing. Even worse, a void that despite everything seems full of whispers and gasps, a thousand conflicting feelings: satisfaction and pain, light weight and the weight instead of something that never fails. It is not guilt: the guilt does not exist, for those who have calculated in detail all aspects of your compensation, not for the man or woman in whose eyes shone given the fury of revenge. It 's just the emptiness that remains when something ends, when the storm calms down, when we rediscover the taste of silence, when you get rid of the noise and constant pounding. It ends in redemption exaggerated in its representation, in a face surrounded by the purity as the violence of a forced fainting (the head that falls in the white tofu), yet another slap in the face, once again burning the remains on the cheeks of an ending too obvious , too happy, where the hugs are full of joy, even if tinged with a subtle dose of bitterness. All too easy, and this hateful so hard for nothing, anger, tears and effort for nothing, to see everything resolved in a seemingly easier. Almost hurts such a conclusion. Yet that redemption is essential, but you do not need to establish a truce with your mind, even though you know at the earliest opportunity you will be betrayed by your own fiery spirit that will win ("The angel in me manifests itself only when I am calling"). "Revenge is a dish to be enjoyed cold" is said in "pearls of wisdom": words were never so true, and no more than Park Chan-Wook was able to say much about revenge, analyzed in its various aspects through a movie trilogy that is a painful scratch man and his weaknesses, that force ostentatious, to the coolness that hides one thousand false weakness, pain and splitting constants. LADY VENGEANCE closes the story of revenge by opening his eyes to the light after dark, observed with apparent calm the development of a long-meditated revenge for this and even more intriguing. SYMPATHY FOR MR.VENGEANCE the pain was fierce whispered; OLD BOY violence overwhelming, Lady Vengeance is the wry smile / grotesque who now has developed its own plan and asks for nothing more than peace and forgiveness. A phalanx cut, forcing a smile (as in OLD BOY, "If you laugh, the whole world laughs with you if you cry, you cry alone." Here are a few fake smiles bestowed, but many tears vent hidden from prison until the execution of vengeance): implore forgiveness for those who have wounded but choose to change style and become bad (a blood-red eye shadow, lacquered shoes, eyes bulging, prepare the weapon par excellence), but despite this, go in search of his lost daughter and rebuild a relationship because of gaps and at the same time full of affection and mutual support. Covenants implied, apparently the boundary, while in reality the various appearances of fellow prisoners with their slices of life, are quell'intrico existential that is around every human being. There is an illusion of being alone even when you have not: it was the moral is clear even from Sympathy for MR.VENGEANCE and comes back to a lesser extent also in Lady Vengeance. Several issues back in the first volume of the trilogy and the third, not the least of kidnapping and drama that follows (underlined even returning from a speech in its entirety: kidnappings good and bad). Here the drama of Achmea is not the death of the kidnapped, but the trinkets / memorabilia attached to the killer cells, in videotapes murders. Everything is close to the comic characters of OLD BOY streaks of grotesque drawing even more precisely the contours of a story so thin as strong, powerful and incredibly complex (the line of parents waiting to take revenge, the conversations of those who comment and compare the weapons at their disposal, the thirst for revenge but also of money). Once again, Park Chan-Wook is able to bring characters with altered an everyday reality: the illusion that everything is away from everyday life is a circle blindfolded, to repair everything in the end feel bad. Lady Vengeance seems ready to destroy anyone in its path, such as Oh Dae-Su in Oldboy or Sympathy for the sick sister MR.VENGEANCE, and how each of them instead, shows how much it's all a matter of appearances. It is true that it is more important to show that, at least not when it's half a vengeance, which is liberating, it is true, but also cruel and painful for those who carry it is necessary to at least appear strong and not too generous (as he says the daughter of Geum-ja). For this reason, revenge comes to everyone. The accounts must always be adjusted. And among the many tears and drops of blood flowing into the film (since the suggestive titles) LADY VENDETTA marks the apotheosis of the vindictive character. And you can not help but sympathize with her.
[Priscilla Caporro]
Oozing:
euphoric rush overestimated by critics and audiences, Park Chan-wook with Lady Vengeance Squaderno chapter more icy and restrained of his trilogy punitive. Unable to deal with the latter work without mentioning the previous titles, Sympathy for Mr. Vengeance and Oldboy constitute unavoidable moments analysis overall (but not always equally complex) on the practice of oppression as the key to existence. The perspective adopted by Korean filmmaker is very clear: to represent the inextricable web of social and individual, public and private, political and erotic in glowing language of violence, using the coordinates of multiple genres (the cut subjective noir, the impetuosity arrembante of the Action, the poignant romance of melodrama and the destructive fury of the pulp) to construct a totalizing discourse on reality. The theme is the focus of extensive discussion, the core of a performance that radiates from the center gradually eventually involve the whole spectrum of human relationships. Revenge is in fact a pretext to talk about Korean society and to spread metonymic, all men, without exception. That said, it should be noted that, while a single body thinking (a kind of cinematic macrosillogismo) all three films show substantial differences in the treatment of the subject matter and management visiva.Sympathy For Mr. Vengeance, of course, the starting point required: blood, crackling, electric, the first chapter of the trilogy is also the most elementary, so to speak, skin. From the thematic point of view the dynamics of revenge does not go beyond the scheme "Crime and Punishment" and the phenomenology of cruelty, running out of pure arabesque narrative does not come from the conventional figure of the "spiral of violence." Although visually the film gets stuck in the register of a tantalizing, the ingenious found, unable to articulate a speech at least partially detached from mere stylistic features Tramice. With Oldboy things change. Radically. At the core base is added thickness that gives the carrier time dramatic and tragic combining thematic substance, complicity in hearing and layered exploration of morality. The basic scheme of Sympathy for Mr. Vengeance is transformed into a true knowledge agenda: revenge is identified with the knowledge / approval of a past mistake and the narrative culminates in the achievement of tragic awareness. Compared with Sympathy For Mr. Vengeance is an obvious aesthetic procedure (not always kept at bay, it should add) of abstraction. From the point of view, figurative note a similar tendency to complicate the picture composition and camera movements increase, however, a trend that is so undisciplined and too often result from intemperate virtuosismo.Ebbene tedious, a combination of the frontal approach Sympathy for Mr. Vengeance with the moral complexity of Oldboy, Lady Vengeance trilogy concludes with a sort of quintessential distillation of his earlier films. Park Chan-wook in play here subtraction, significantly reducing the cunning narrative and found Flaunt drugs in the first two chapters to focus on the rigor of the look (think of that, almost unbearable for durability and hardness, Geum-ja just been released from prison) and the nucleus sull'indistruttibilità theme (revenge is portrayed as an extraordinarily strong feeling, an evil antagonist and ineradicable love). Lady Vengeance, therefore, deeply affecting precisely because of its concentration in style, a balanced synthesis of elegance and ferocity that attests to the control of matter and the acquis narrative mastery of the staging. So, for the first time, the viewer is offered both a passage open to participate in the events represented on the screen - stories that are almost exclusively interested in the previous chapters actants diegetic - and the opportunity to develop their own thorny ethical problems faced by the film (think of the long sequence and crucial "process" in the school ). The greater stylistic control can also be seen in purely visual level: the close-ups, the jerky camera movements and editing deafening Sympathy for Mr. Vengeance and Oldboy now leave room for long and medium shots of the glorious splendor, compositions of stillness guarded and cuts in rhythmic, relentless precision. The red circle is finally closed. With a refined dripping.
[Alessandro Baratti ]
(In) understanding of (Our) Lady Vengeance: A trilogy
had to be done, as a revenge, surely. One reason for this tripartite logos is the deep and painful meditation, thought of as a wound on the same concept of revenge for which Park Chan Wook is in charge of conducting the analysis to the extreme aesthetic catastrofizzandone assumptions, actions and situations iperbolizzando , hybridizing raw realism (Sympathy for Mr. Vengeance) and drifts comics (Oldboy) invariably working on shape, forms of representation. The mise en scène plana surfaces that fit the way between the circling of the camera on objects and bodies of representation, relentless as an avenging angel, figurative exemplary nature of the framework composition of the fixed long shot. Proximity and distance accomplice enveloping the sidereal bodies, irresolute double bind of understanding / misunderstanding thrown into the desire (and fear) of a form that does not degenerate into formalism. Sculpting the feeling of revenge in time through the movie mixing the dominant color film that inevitably imprison our eyes, before any suggestion of narrative can, in the depths of connotative black red and white (those that arise in the opening credits and liquid dripping relentlessly plowing through the entire space of signs of the film). Commonly recognized path of destiny and markedly from the darkness of sin (?) The whiteness of redemption (?) Immersed in a bath of blood inevitable. Revenge and perhaps especially as a desire to take revenge on the diegetic form, the structure of stories, games, deconstruction, violently with in (de) finite analepsis / prolepsis that shatter any pretense of linearity, together all'affanno of the fable, even to the desecration gait patterns in a giullaresca and fun on the ridge of the formalism of genres: drama (along with its unique personae) which in farsizza avenger tourbillon finally taking sublimely tragicomic game of ambiguity of the principal.
[Mauro F. George]
Area readers:
There is no solution:
(Mr. Vengeance I have not seen yet.) Revenge is a slice of cake good, but end in itself itself. In both films, who takes it to the end, he loses. In Oldboy Woo-jin Lee committed suicide because he realized that even the Vendetta has satisfied the death of his sister; in Lady Vengeance Woo-jin Lee puts his face in the sweet, after a desperate epiphany that revealed unexpected bitterness. He understood that the man and his company, founded about money and futile (a morbid desire to paparazzi photos, the priest attached to the money collected for the purchase of kidnapping a yacht, the desire to recover the ransom money) to be the problem unsolvable. The Phantom of the owner of the money (and dehumanizing) is everywhere, both on the part of the professor from the families of the young victims. In Oldboy is the unsolvable riddle of incest: theme, as already mentioned here above, from classical Greek tragedy. There is no solution, is a state of anguish that human did not answer. Here's why at the end of the artifice of the illusion of Oldboy, here is the bittersweet end of Lady Vengeance, the film seemingly more simple of the other.
[Alberto Colombo ]
[from " Unforgiven" - film magazine Interactive]
for nothing part. 
