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Actually ‘instantly smitten’ is perhaps not quite true. Yes, the vast majority of the running time of Im Sang-soo’s The Housemaid, a 50th anniversary remake of a Kim Ki-young movie of the same title, is so rich a visual feast that, did your peepers possess any kind of appetite apex, they would surely be yelling out, That’s enough, I’m full! some time before the closing credits. However the movie is topped by a prologue which sees a woman leaping to her death on a busy, neon-lit city street, and in contrast to the incredible control and painterly precision exhibited by Im and his cinematographer Lee Hyung Deok during the rest of the movie, this early section is shot seemingly on the hoof, being all jittery camerawork Sik Lite ATV and cluttered, luridly-illuminated locations.

From this shocking early moment (which remains largely mysterious, though I as I suspect most other viewers will have fashioned my own theory about its meaning, in light of the movie’s conclusion), we move into the main body of the story. Central protagonist Eun-yi (Jeon Do-youn) is a young and attractive woman, although she is somewhat immature and inattentive, as well as for the moment being down on her luck financially, forced as she is to share bed space with a snoring friend. She therefore eagerly grabs the chance to become part of the household staff for fantastically wealthy couple, Hoon (Lee Jung-jae), a gifted pianist, and his heavily pregnant wife Hae-ra (Seo Woo), working under the ruthlessly efficient eye of chief domestic, Byung-sik (Youh Yuh-jung).

An affair between a pretty young domestic and master of the mansion spawns a spate of dark-hearted scheming, as the wronged wife seeks to reassert herself. Paul Martin is instantly smitten by a true cinematic beauty.

Watch Movie Online The Housemaid

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