The pickpocket

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Movie
German title The pickpocket
Original title Agassi ( 아가씨 )
Country of production South Korea
original language Korean , Japanese
Publishing year 2016
length 145 minutes
Age rating FSK 16
Rod
Director Park Chan-wook
script Chung Seo-kyung
Park Chan-wook
production Park Chan-wook
Syd Lim
music Cho Young-wuk
camera Chung Chung-hoon
cut Kim Sang-bum
Kim Jae-bum
occupation
synchronization

The pickpocket (international The Handmaiden ) is a film by the South Korean director Park Chan-wook from 2016 , inspired by the novel Fingersmith ("As long as you lie") by Sarah Waters . The main roles are played by Kim Min-hee , Kim Tae-ri , Ha Jung-woo and Cho Jin-woong . Set in Korea and Japan in the 1930s, the film follows a wealthy heiress who falls in love with her maid.

The film premiered at the Cannes International Film Festival in 2016 and was released in South Korean cinemas on June 1, 2016 . The Pickpocket is the first South Korean film that was nominated for the BAFTA Award in the category of best foreign language film and was ultimately awarded. The Korean original title 아가씨 Agassi means "unmarried woman" or " miss ".

classification

After his Hollywood film Stoker (2013), director Park Chan-wook turned back to South Korean cinema and worked with the crew of his previous films. The Pickpocket is very different from Park's previous films. After Pierce Conran, Durst (2009) comes closest to the film in terms of mood. With the film, Park Chan-wook made it into the Cannes competition for the third time, making him the second Korean director, after Hong Sang-soo , to have succeeded in this number. The main actress Kim Min-hee was already a seasoned actress in South Korea , especially through the films Helpless (2012) and Very Ordinary Couple (2013) . In 2015 she starred in Hong Sang-soo's film Right Now, Wrong Then , which won the Golden Leopard at the Locarno Festival . While filming, Kim Min-hee and married director and father Hong Sang-soo began an affair that leaked to the public in June 2016, shortly after The Pickpocket launched . Kim then went underground and stayed away from the awards ceremonies at the end of the year.

For Kim Tae-ri , her role as a maid was the first major role. At the casting, she prevailed against around 000000000001500.00000000001,500 other candidates. Director Park Chan-wook said his first impression of Kim Tae-ri reminded him of Kang Hye-jeong , made famous by Park's film Oldboy . Ha Jung-woo is a big name in South Korean cinema and has a wide range of different genres. Cho Jin-woong started his career as a stage actor before moving into film. He played mostly supporting roles, his biggest to date in 2014 in A Hard Day . For his role in The Pickpocket , he lost 15 to 18 kilograms because Park interpreted his figure as malnourished.

action

1st chapter

In the 1930s, the pickpocket Sook-hee lived in Japanese-occupied Korea with a group of other crooks. One day the impostor Fujiwara visits them and tells them about the rich Japanese heiress Hideko. Her uncle Kouzuki plans to marry her in order to get at her fortune. That's why he watches her every step of the way. As a result, she has hardly any contact outside her large estate. Fujiwara, who pretends to be a count, has a plan how he can get Hideko's money himself. The pickpocket Sook-hee is supposed to help him. As Hideko's new maid, she's supposed to help Hideko fall in love with him. Sook-hee is promised money and Hideko's jewelry. After the wedding, the Count wants Hideko to be declared crazy, and Sook-hee is supposed to help him too.

When Sook-hee comes to the property, Hideko's beauty stuns her. She also seems very nice to Sook-hee, but also crazy and naive. After a short time they both get closer and closer. Fujiwara is hired as a painting teacher for Hideko. From then on, Sook-hee always reacts annoyed when the Count is around Hideko. Nevertheless, she sticks to the plan to steal from Hideko. She focuses her thoughts on the promised reward, with what she wants to go abroad and leave everything behind. One day Hideko puts Sook-hee to the test and asks her if, despite her doubts, she should marry the Count. Because there is another person she fell in love with. However, Sook-hee replies that Hideko should marry the count. It's not the answer Hideko wanted to hear. She is disappointed and reacts angrily to Sook-hee.

When Kouzuki goes away for a week, the wedding between the Count and Hideko takes place as planned. When the newly wed couple is in Japan with Sook-hee, Sook-hee is suddenly declared insane and admitted to the asylum under Hideko's name .

Part 2

Until then, the plot is told again from Hideko's point of view. She often has to read from pornographic works by Japanese authors for the uncle's aristocratic visitors. This task has a serious impact on Hideko's psyche. Her aunt suffered from the same task, tried to escape several times and ultimately chose suicide. Count Fujiwara is also present at a reading. Knowing that Uncle Kouzuki wants to marry Hideko in order to get hold of their inheritance, he makes a proposal to Hideko. He wants to help her protect her property from her uncle, but in exchange for half of the property. They are planning to get married and a maid is about to be sent to the asylum for Hideko. This could make her submerge and start a new life under a different name. However, Hideko and Sook-hee fall in love. But after Sook-hee told Hideko that she should marry the count, she is offended. Hideko is only interested in Sook-hee and is now averse to the count. But Sook-hee sticks to her plan and does not return Hideko's love at this point. Hideko then wants to hang himself. Sook-hee arrives at the right moment to prevent it. She also confesses her love to Hideko. Hideko then tells Sook-hee about her deal with the count. Finally they plan together how they can escape the count and their uncle. In addition, they destroy their uncle's book inventory.

3rd part

After Sook-hee is admitted to the insane asylum, Hideko gives the count a sleeping pill. At the same time, Sook-hee escapes from the asylum during a fire. You left a message for your uncle. This learns about Fujiwara's plan and then tortures him. Both die when the Count of Kouzuki lets himself light one last cigarette, which produces toxic smoke. Most recently, Sook-hee and Hideko can be seen together on a ship to Shanghai .

synchronization

Left to right: Cho Jin-woong , Kim Tae-ri , Kim Min-hee , Ha Jung-woo and director Park Chan-wook (May 2016).

The German dubbing was based on a dialogue book by Daniel Johannes under his dialogue direction on behalf of Think Global Media GmbH Berlin.

role Actress Voice actor
Miss Izumi Hideko Kim Min-hee Maria Hönig
Sook-hee Kim Tae-ri Daniela Molina
Count Fujiwara Ha Jung-woo Peter Flechtner
Uncle Kouzuki Cho Jin-woong Jürgen Kluckert
Housekeeper Sasaki Kim Hae-sook Viola Sauer
Hideko's aunt Moon So-ri Eva Thärichen

background

The film is based on the novel Fingersmith ("As long as you lie") by Sarah Waters . After reading the script, Waters suggested calling her novel more of an inspiration, as although it was a good adaptation, the setting and setting of the novel had been changed. According to Park, this is also the reason why the title differs from the novel. It was very important to Waters that the feminist core of the film was preserved. In the end, she was pleasantly surprised and amazed at Park's style and changes. Park cited the fan base of the BBC series adaptation Fingersmith (2005) as the reason for changing the location . He feared that he would not be able to step out of the shadow of the miniseries and did not want to go the same way.

To move the material from the Victorian era to Korea , Park chose the time of the Japanese occupation . The choice of this period seemed to him to be sensible for adapting the original material, since there was still a class of nobility and with it the profession of maid. Park also considered the existence of the western psychiatric clinic necessary. Traditional elements existed, but at the same time modernity began. Park pursued a mixture of Eastern and Western styles with the film, in which Korean, Japanese and European influences sometimes coexist harmoniously and sometimes conflict with one another. In particular, the property should present Japanese and English style elements. Filming began in June 2015 in Kuwana ( Japan ) and was completed in November of that year.

The theme song for the film was sung by Ga-in and Min-seo and is called 임이 오는 소리 Imi Oneun Sori (“The voice when you come”). It's a cover version of the song of the same name by Lee Pil-won from 1974.

publication

The pickpocket premiered at the Cannes International Film Festival in 2016 . About two weeks later, the film ran in South Korean cinemas on June 1, 2016 . In South Korea the film is not rated for young people . The distribution rights of the film were sold for 176 countries. Thus presented , the pickpocket a new record for a South Korean film and sparked Snowpiercer as the most marketed movie, were sold for the rights in 167 countries. Koch Media secured the rights for the German-speaking area .

The film opened in German cinemas on January 5, 2017. On August 6, 2017, Die Taschendiebin was finally released on DVD and Blu-ray in German-speaking countries . A collector's edition limited to 2,000 pieces was also published, which in addition to the original cinema version contains a 23-minute longer version.

subjects

Seungyeon Lee worked out the similarities and differences in the original Fingersmith with The Pickpocket . What the works have in common is the patriarchal, hierarchical and male-dominated society. The number of main characters was also retained and the backgrounds of the roles are similar, but have been adjusted to the scenario. The colonial environment is different. This is particularly important at Kouzuki. He is a native Korean, but despises Korean culture and considers Japanese culture to be superior. That's why he really wants to be Japanese. To do this, he leaves his Korean wife, whom he then lets work as a servant in the property, and marries Hideko's aunt, who is Japanese. However, she commits suicide, and Kouzuki now plans to marry Hideko in order to get the inheritance and property. Kouzuki, for example, reflects colonial oppression by having power in the house.

The clash between East and West is best represented in the property, where Japanese and British architectural styles are predominantly used. While the garden is typically Japanese, the main building is Victorian . Kouzuki's library has a pond, floor mats, and a Japanese-style stage, but British bookshelves. Only the servants' bedrooms are Korean. Here, too, colonialism and power structures are made clear: the powerful and noble lived in modern British and Japanese surroundings, the lower class lives in conditions that the upper class would perceive as "uncivilized". This also carries over to clothing. While Kouzuki and Hideko wear western clothes or kimono , the servants dress in Korean costume. According to Lee, Park brings in a precise criticism of the colonial society of old Korea: through loyalty to the colonial rulers due to an inferiority complex towards one's own culture, power is achieved that is used to further suppress the “uncivilized”.

According to Goran Topalovic, an essential element in Park's films is the exploration of the female psyche, which is often overlooked. By The pickpocket it was obvious. Topalovic sees an intellectual kinship with Mikio Naruse , who was one of Park's favorite directors and who investigated the influence of modernity on working women in his films. He often worked with the actress Hideko Takamine , after whom Park named his Miss Hideko .

The main theme of Jeonghwa Lee's work is the female desire for freedom far from male oppression. Lee compares The Pickpocket with the BBC series Fingersmith (2005), which is also based on Waters' novel of the same name. One difference between the works is the plot: like the novel, the television series is set in Victorian London , while The Pickpocket is set in Japanese-occupied Korea in the 1930s. Waters herself is a lesbian and the subject of lesbian love is repeatedly taken up in her novels. When the two leading actresses escape the men who strive for power, money and prestige, they break through the social scheme of patriarchy .

reception

In South Korea , the film had 4.3 million admissions. The number of visitors in Germany , Austria and Switzerland was 36,691, 7,719 and 3,625, respectively.

The film received mostly positive reviews. Benjamin Lee of the British Guardian gave the film four out of five stars and described The Handmaiden as an extraordinarily entertaining thriller, "exceptionally beautifully conceived and sexually liberating". He praises the performance of the two leading actresses Kim Min-hee and Kim Tae-ri as well as the chemistry between the two through desire, affection and intimacy. Lee responds to the criticism that the lesbian sex scenes make the film more likely to correspond to male fantasies, but rejects this accusation because the scenes are necessary and the male characters are portrayed as incapable. The impostor Fujiwara is only a nuisance for Hideko and Sook-hee, while Uncle Kouzuki prefers pornography to reality. Neither of them understand how to deal with women. The film is divided into three sections and the only negative aspect Lee mentions is that he repeats some scenes too often from a different angle and thereby patronizes the viewer. Jin Eun-soo from JoongAng Daily particularly praised the music, the scenery and the clothing from kimono to western dress and the make-up of the leading actress Kim Min-hee. Jin draws similar conclusions as Benjamin Lee regarding the love relationship between the protagonists and argues that the female characters are clearly at the center of the action. In addition, Kim Tae-ri is explicitly highlighted as a great discovery. Overall, Kim Tae-ris's performance is particularly appreciated in both the very positive and the rather negative reviews. Emily Yoshida from The Verge emphasizes the performance of both leading actresses as "spectacular" and Jason Bechervaise and Pierce Conran expressly praise the entire cast: Kim Min-hee builds on her success with Right Now, Wrong Then (2015) and is in shape their life. Kim Tae-ri's performance is "sensational", Ha Jung-woo plays "excellent" and Cho Jin-woong has never been better. Kim Hae-sook and Moon So-ri are also "great, as expected". Artistic director Ryu Seong-hee has also received praise from the reviews for the design.

Especially the explicit love scenes between Hideko and Sook-hee and the answer to the question of whether these were necessary or merely served male gaze, divided the criticism. Overall, the scenes were received mostly positively. Rumy Doo from the Korea Herald states that the intimacy of the protagonists is very tender and that the relationship could seem lifeless without the scenes. It is a "liberating connection". The focus is on the two women who are looking for freedom; Sook-hee wants to be freed from her poverty and Hideko from her uncle's control. Furthermore, the male characters would be caricatured, if at all. Vulture's Jada Yuan comes to the same conclusion, describing the portrayal of lesbian love as "hot" and the film as "overwhelming". Maggie Lee from Variety, on the other hand, thinks that the film does not tie in with Sarah Waters' themes of “rebellion” and “liberation”, but rather falls into “eroticized torture and misogyny ”. Otherwise, however, their criticism is very positive and describes The Handmaiden as "clever, intoxicating and all too sensually wasteful". Tim Robey of the British Telegraph takes a more negative stance and says the film is turning into a "grueling, disgusting trap." Robey sees no sense in the relationship between the two protagonists and describes The Handmaiden as “perhaps the most sophisticated film” of this year's competition in Cannes , but also the least adult film, apart from sex. Christoph Petersen from Filmstarts.de reviews the film in a very mixed way and describes, in contrast to Robey, Kim Tae-ri and Kim Min-hee as “one of the most believable lesbian screen couples”. However, he finds that the big twist is not as significant and does not have a "bang" like Park's film Oldboy . Petersen expressly praises the camera work and the design of the property.

Pierce Conran describes the film as a "deeply captivating [...] and partly black-humored story of female sexuality". Conran clearly emphasizes the performance of the film staff in his review: production designer Ryu Seong-hee creates an environment of "heavenly beauty and textbook-like horror" through the English-Japanese designed property. He praised Chung Chung-hoon's camera work as "masterful and exhilarating"; Cho Young-wuk's musical contribution is "excellent" and the editing by Kim Sang-bum and Kim Jae-bum is "surprising and inventive". Overall, The Handmaiden's staging is "truly breathtaking". The film also fulfills all expectations for Deborah Young of the Hollywood Reporter . The erotic never falls into the cheap or tasteless. In addition, Young is extremely impressed by the plot, combined with amusing revelations and full of irony. She concludes that The Handmaiden brings together the best of Asian cinema. The elaborate and lush visuals and the associated appealing technical use have been recognized in numerous reviews. Talia Soghomonian from Collider.com is impressed by the three-part plot full of twists and turns and describes the film as "brilliantly edited". Still, she believes some flashbacks were too long.

Rüdiger Suchsland gave the film a very positive review. The pickpocket is clever and multifaceted and argues in pictures. The complex love story is told in a virtuoso manner, combined “with the subject of a romantic crime thriller”. The film is "full of elegance and speed, drive and dynamism, driven by beautiful music and remarkable staging art". The performance of the cameraman Chung Chung-hoon is expressly praised. The editorial team of the film magazine Cinema gave the pickpocket five out of five points. The film is described as an “artfully staged milestone of erotic cinema”, “full of illusions and unexpected twists and turns”. Tim Lindemann from epd Film rated the work four out of five stars. Andreas Kilb, on the other hand, had a rather negative review of the film. The focus of the film is the setting and not the plot: "The robes, chaise, plünnen and borders, which are a little thing in big films and the main thing in small ones".

According to Katja Nicodemus von der Zeit , the film tells “a great, longing, wonderful love story”. It is "a fairy tale in the guise of a thriller". The film is surprising, clever, complex and multi-layered. The men are the villains from which the women are trying to break free. Barbara Schweizerhof's conclusion is similar: The “sensuality and sensitivity” of the “two heroines [is] a truly cinematic feast for the eyes.” Daniel Kothenschulte from the Frankfurter Rundschau expressly praised the film music by Cho Young-wuk and put a “highlight “Of the film. Furthermore, the film is interesting for Korean film history and reminds of the classic The Housemaid (1960).

Awards

Cannes International Film Festival 2016

Blue Dragon Awards 2016

  • Award in the Best Actress category for Kim Min-hee
  • Award in the Best Young Actress category for Kim Tae-ri
  • Award in the Best Production Design category for Ryu Seong-hee

Buil Film Awards 2016

  • Award in the Best Young Actress category for Kim Tae-ri
  • Award in the Best Production Design category for Ryu Seong-hee

Busan Film Critics Awards 2016

  • Award in the Best Young Actress category for Kim Tae-ri

Director's Cut Awards 2016

  • Award in the Best Actress category for Kim Min-hee
  • Award in the Best Young Actress category for Kim Tae-ri

Los Angeles Film Critics Association Awards

  • Award in the category of best foreign film
  • Award in the Best Production Design category for Ryu Seong-hee

Asian Film Award 2017

  • Award in the Best Supporting Actress category for Moon So-ri
  • Award in the Best Young Actress category for Kim Tae-ri
  • Award in the Best Production Design category for Ryu Seong-hee
  • Award in the category Best Costume Design for Jo Sang-gyeong

Saturn Awards 2017

British Academy Film Awards 2018

Web links

Individual evidence

  1. ↑ Release certificate for The Pickpocket . Voluntary self-regulation of the film industry (PDF). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
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  4. ↑ Pierce Conran: THE HANDMAIDEN Becomes 1st Korean Film Nominated at the BAFTAs. In: Korean Film Biz Zone. January 18, 2018, accessed January 23, 2018 .
  5. ↑ a b EE British Academy Film Awards Winners in 2018. February 18, 2018, accessed on February 19, 2018 (English).
  6. ↑ a b c d e f Pierce Conran: Cannes 2016 Review: THE HANDMAIDEN, A Breathtaking And Twisted Lesbian Thriller. In: ScreenAnarchy. May 15, 2016, accessed on August 15, 2016 .
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  31. ↑ a b c d e Jeonghwa Lee: Recreated Reality by Female Bonds. A Comparative Study on Fingersmith (2005) and The Handmaiden (2016) . In: The New Studies of English Language & Literature . No. 69 , 2018, doi : 10.21087 / nsell.2018.02.69.165 (165-183 p.).
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  62. ^ Winners of the Asian Film Awards 2017. In: Asian Film Festivals. March 22, 2017, accessed March 25, 2017 .
This version was added to the list of articles worth reading on October 26, 2018 .