Sympathy for Lady Vengeance

Title: Sympathy for Lady Vengeance
Rating: 4/5
Genre: Crime, Drama, Thriller
Starring: Min-Sik Choi, Yeong-Ae Lee
Language: Korean
Director: Chan-Wook Park

The final chapter in this trilogy of tragedy, this is easily the most straight forward concept of them all plot wise, one which could easily be derogatory considered unoriginal in its theme but beyond the bare bones lies a full and rich atmospheric masterpiece; a piece of art to be analysed, the bold imagery, subtle symbolism and powerful filming locations allowing a strength to either captivate or be lost on the viewer. For those who have watched the previous films, certain repeated phrases emerge, and those with attention to small details will notice the stark contrasts in colours and what they represent. This isn’t merely a film about vengeance or the fulfilment of justice, there is a deeper meaning prevalent here; redemption.

Falsely imprisoned for the murder and kidnap of a six year old boy, she is forced into taking the blame, and is sentenced to 13 years in prison. Plotting her revenge and dreaming of the day she can have her vengeance, life inside quickly hardens her and she enlists the help of fellow cell mates in the execution of her plan. On her release she finds work at a bakery and re-unites with her daughter, but still troubled she seeks retribution in the hope of finding relief.

This relatively straight forward plot could easily seem underwhelming by comparison to the elaborate tapestries constructed in past efforts, but here it is the character of Geum-Ja (Yeong-Ae Lee) that draws the interest. A multi-layered character, both immensely kind-hearted yet just as cold towards those she deems deserving of it, she will patiently kill you with a smile in an almost poetic justice. This isn’t merely an ‘interesting’ character; this falls into that rare category of characters you fall in love with, that you could endlessly be entranced by. It is her grace and beauty, the element of danger and mystery only serving to captivate as you explore deeper into her desperate search for atonement from her sins, conflicting with her desire for vengeance, this internal conflict as to which will offer her comfort; the atonement of her past sins in order to reunite with her daughter, or the death of the man responsible for her imprisonment.

But beyond the phenomenal capabilities of the lead, the cinematography and use of camera work – something which has never been a particular weakness – shows itself as being stronger than ever, picturesque snowy backgrounds, dark and dingy rooms and cold prison walls all serving to accentuate the atmosphere, once again combined with a well utilised classical soundtrack. And as with the debut, the small details that make all the difference; the use of blood-red eye shadow to differentiate between her dark internal strife and pure, kind-hearted nature, the symbolism of the tofu presented early on in the film or the importance held on to the deceased child’s favourite marble. All these aspects serve to create a poetic and majestic feel, the almost fantasy-like story rich with subtle imagery all too easily lost in a single viewing.

Despite its slow start, the tension will steadily rise as the film continues and if you can endure until you learn enough about the character to become entranced, what you will discover is one of the most intriguing, beautiful characters put to film. Easily my favourite of the three, Ms. Geum-Ja, if you’re reading this, I hope one day I can become the subject of your vengeance, just so I can leave this earth in a fitting manner.

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