Lady Vengeance
The third in Park Chan-Wook’s thematically-linked ‘revenge trilogy’, Lady Vengeance shows a more calculating and visually sumptuous take on the subject of revenge. Framed for the kidnapping and murder of a young boy and with her own daughter taken away from her as a result, prison inmate Geum-ja (played to perfection by Yeong-ae Lee) spends her time inside hatching a complex and elaborate plan to exact revenge on Mr. Baek, the man who is responsible for it all.Those who have seen the likes of Oldboy and Sympathy For Mr Vengeance will be familiar with Wook’s thematic and visual styles: black-as-pitch humour and shocking violence, portrayed through very artistic camerawork. Lady Vengeance is no exception, showing some of his most stunning visuals to date, not to mention portraying the act of revenge with a very feminine face. The colours and landscapes glow with beauty and optimism, not unlike Amelie or The Royal Tenenbaums; later the backgrounds become darker as the lead is drawn down a cold and lonely path by her own actions.
Lee is perfect as the angel of death of the title, being motivated by not only unfair inprisonment but a desire to see her own child again and punish her victim for crimes against others. Whilst in jail she makes a number of friends and and forms allegiances; on occasion this involves some smaller acts of revenge with brutally comical methods and consequences. It is all part of the greater plan, which gradually unfolds upon her eventual release several years later. The story does become confusing at times however, as it lurches suddenly from flashback to the present: one moment Lee is conversing with fellow inmates while in jail; the next she is making use of their help several years later, a free woman, in legal terms at least.
Viewers are rewarded for their attention and patience, however - even if a second viewing is required. In between the glorious use of colour and gleefully graphic violence, the film tackles a number of moral questions concerning Geum-ja and her plan. Sometimes the visuals detract attention away from these issues; for the most part though it is the considerable skill of the direction and screenplay that holds the disparate elements together.
For all its violence and cruelty Lady Vengeance takes time to look around and take in the more pleasant things such as landscapes and the innocence of a young child. When placed side by side in the way that this film does, the contrast is all the more striking: it proves that Wook is a true artist in film making as well as showing the consequences of the horrific actions that humans inflict on one another. It becomes clear that suffering only breeds yet more suffering, but can Geum-ja turn back? As she moves closer to ruining the man who destroyed her own life, the existence of her estranged daughter may be the source of her salvation.
In Summary
As with any film that deals with revenge and human cruelty, Lady Vengeance is an unashamedly violent film that offers few easy answers concerning the morality in what the protagonist is doing. In this case, the ambiguity is accompanied by a gorgeous cinematic style and moments of very, very, dark humour. All in all it is a worthy addition to the director’s CV and a shocking but memorable piece of cinema.
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