The Housemaid (2010)

The film never slows down or bores, plunging from one harrowing sequence to the next.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

Worth seeing just to witness how winsome it is.

This movie is about people who are so rich they can have what they want with little to no consequence. This includes people. They are entitled, pampered, selfish and heartless. This is a slow moving film and I keep waiting for the thriller aspect of this drama to ratchet up a notch but I never got what I was hoping for. The look of the film is cold. The house was lovely but the cold and almost museum-like quality really helped give the impression that it wasn't a very loving home. It didn't look as though life was happening within its walls.Let me just say that I don't care how much money you have, I would never let a man treat me like a ho. I also wouldn't allow a B**** who is married to a man like that, slap me around like that either. Pregnant or not, in that very moment I would've let her know she wouldn't be hiding behind those babies forever. As soon as that heifer dropped those babies I'd get hold of her A**!!!Was there anyone else who was expecting the head housemaid to come out and say that her son was fathered by the husband's dad? I was surprised they didn't take that route especially since she told the mother-in-law that her son wouldn't have been an attorney if not for the wealthy family.

The Housemaid (2010)In all, this is an enchanting, disturbing, slightly above-the-fray look at a highly elite family and the interactions of mother, father, young daughter, and slightly sinister servant. And the new, young, naturally beautiful "housemaid" which is what makes this movie what it is.It has become so customary to film--shoot cinematographically--at the highest technical and aesthetic level, you sometimes wonder about how a story would subsist without all the visual excess. This is a dramatic, personal story about rich people abusing a good-hearted young woman who becomes their maid. But it is dressed in such elegant, beautiful, truly beautiful visuals, the story takes on an elevation that makes it what it is, something beyond.You have to decide whether that's a good thing or not.By the truly astonishing and almost preposterous end you'll be giddy with the slow, careful, deliberate prettiness of it all. I know this second-to-last scene is not meant to be preposterous, but like the key turning point on the ladder halfway through, there is a detachment from the family members that defies and upsets the apparent human intensity implied elsewhere. I suppose the very last scene, which (in its ultra-wide angle shooting) is unlike anything else in the movie, takes us to intentional absurdity, making what we've seen surreal, and in that sense we might revisit the movie and its intentions differently.It doesn't help to analyze the plot in particular. It's an old story--and better developed, narratively, in several other movies. The beautiful young maid is disruptive, even without trying, eventually drawing the father into the inevitable, and the mother, too, in her own way. A mother-in-law takes on an evil role, but with such cool and prettified distance it's hard to quite feel. And this movie really has at its core the problem of being understood rather than felt. The leading character--the housemaid--is absolutely sympathetic and well done. (This is Do-Yeon Jeon, a Korean actress with little exposure in Western cinema.) You do get the sense that this is a "knowing" film throughout--it has the intentions of being a serious new Korean film. And it is based, loosely, on one of the truly great Korean classic movies, a 1960 movie with the same name. Here, though, you'll definitely find a coolness and a lack of true emotional involvement that runs counter to the high production values. It's a film that could have been something much more than it ended up being, in terms of content at least. But it's totally engaging in its steady slowness, so if you like films partly for being well shot, give this a try.

A South Korean soap opera, The Housemaid is a combination of Fatal Attraction, In the Mood for Love, and myriad other adultery thrillers. Its sensual sheen and quiet sexuality underpin a grim war between servants and the ruling class with no one winning.Adapted from an earlier Korean version by director Sang-soo Im, it tells of naïve Eun-yi (Jeon Do-yuon) being hired as a maid in a wealthy household, whose head, Hoon (Jung-Jae-Lee), takes her as a love interest while his pregnant wife comes to term and the other ladies gradually find out that Eun-yi is pregnant as well. While the house is meticulously modern and opulent, an undercurrent of evil runs through it as if it were a Poe tale.Although at times Housemaid moves slowly, especially in the mid section, no audience could be indifferent to the haughty treatment of the servants by the rich, who treat them as you might think Thomas Jefferson treated his own slaves, with decorum but decidedly selfish and cruel. Eun-yi is not totally innocent, for she enjoys the master's attention, and Hoon can be partially forgiven because of the harpies like his wife and mother-in-law, who treat him like a child, or in the case of his wife, ignore his sexual needs except to create children. That he plays a mean classical piano and drinks wine like an aristocrat used to the fineness of wealth, Hoon is partially an animal of the lowest order, giving in to his appetites protected by his wealth and his ladies.The final moments are the payoff as most everyone in not spared humiliation or violence. Although the connection between the opening and closing is a bit too much of a figurative and literal connection, The Housemaid holds up admirably as Gothic horror in a modern Asian setting replaying the themes of class conflict and revenge.

Off base remake of a classic Korean film concerns a young woman who gets a job working for a rich family and quickly ends up a mostly unwilling target for their games and in the case of the husband advances. Its soon a descent into depravity as she finds out that the rich aren't like other people.Since the original was made in 1960 I'm guessing that the film amps up the sex and violence- I'm pretty sure the ending isn't as graphic. I know the ending of this one left me kind of staring at the screen, and had me playing it again and again on my IFC in Theaters screening. It's one funky ending that seems to come from left field.As for the rest of the film I'm not sure what I make of it. The film is certainly crafted for effect- it's aiming to make us all feel uncomfortable- and it does from the WTF opening straight on until the ending. Is it any good? I don't know. It did have an effect on me but at the same time I felt manipulated. What happened- out side of the end- or the almost the end wasn't anything I couldn't figure out.The film is being promoted as rather sexy and it is, but to what effect. It seems more like a calculated move rather than something natural.Can you tell I'm mixed.I'm guessing that had the film not be so heavily promoted the last few months as a hot film in some circles I might have liked it more. As it stands now. Its okay, but nothing special.Your mileage will vary.