Lady Vengeance 4K 2005 Ultra HD 2160p

Story Movie

Lee Geum-ja, 19, goes to jail on false charges of kidnapping and murdering a child. In prison, a woman hatches a plan for revenge and wins the hearts of inmates with her own kindness, receiving the name Kind-hearted Lady Geum-ja. After serving 13 years, the avenger, with the help of her prison friends, goes to look for the one who broke her life.

Review 4K Movie

So interesting, but I started watching Park Chang-wok's "Revenge" trilogy from the end. Always doing something from the wrong place is interesting, the truth and the result may not be the same. But with "Mistress Vengeance", things are so that this is the only picture of revenge I have seen from this Korean director. The sensational one and even called by someone the cult "Oldboy" is still not seen, but for now in anticipation, but with caution, you can look at "Madam".

For the first hour and a half, the film is a real bewilderment. Nice picture (more on that later), funny presentation and plot construction. Some kind of intrigue, heaps of people involved. Human destinies and dramas. You look at all this and are touched. But if you discard the visualization, the wireframe appears to be very gray. The film gets bored with its ending and it becomes completely incomprehensible how such a trivial thing can be watched for about half an hour.

The brain involuntarily recalls a story two years ago (in the sense of the difference in the output of films). The story of an abandoned pregnant bride in a yellow sports suit and an incredibly cool sword to the advantage. Tarantino is also a virtuoso visualizer. The brain reproduces, compares and gives out that after no Kill Bill 1 and even more no Kill Bill 2 shoot Kill Bill 3 is completely insane, especially to do it not in Europe, but in Korea. And if after Tarantino there was a sea of ​​blood in my head, some Japanese, a sword and a charming Uma, then after Pak Chang-wok it seems that nothing will remain at all (kill me, I have not seen a breathtaking beauty in the main character of "Mistress"). The brain made its research and conclusions, the mouth involuntarily begins to yawn and is already waiting for the last shot ...

And then at some point it becomes clear that the film is worthy, that it is great, a film that you put on the same shelf with very few “controversial films”. "Mistress" asks such questions to the viewer, to which, personally, I still have no answers.

The director was skillfully able to combine in one picture the stunning beauty of the picture, plus win-win classical music (Kubrick's Space Odyssey), pop cinema, and not very frank - bringing money, but not forcing oneself to be ashamed (Kill Bill Tarantino) and deeply philosophical questions of morality and life ( the choice is great, say - Trier).

The viewer, on the other hand, remains an indifferent face in all this, while not at all bored, which is truly difficult to achieve. Watching the first part of the film, we are just spectators of a funny Hollywood story of injustice, like a girl, a good girl, was deceived by a bad teacher, put her in prison, and now she is out and wants revenge. In the second part, we are disembodied "angels" who, like the heroes of the film, wonder what a pedophile and child killer deserves - severe punishment "according to the law" or a lynching from inconsolable parents filled with righteous anger. The director seems to be just filming documentary - the camera is indifferent. She is indifferent when children are killed, when parents are killed, when then everyone is nice and friendly to eat a cake and are already thinking about money.

Now I do not want to go into any deeply philosophical reflections on the topic of courts and judges (I mean global, not legal meaning). It is pointless to argue here, everyone makes a choice only for themselves, everyone is subsequently responsible for this choice. Count Monte Cristo for his, the parents from "A Nightmare on Elm Street" (just remembered) for his, and the heroine of "Madame" for hers.

No wonder at the end of the film, as a symbol of cleansing and forgiveness of all sins, it snowed. The director has forgiven. But the main character never forgave herself for anything, revenge, as often happens, did not turn out to be as sweet as she would like. The "good" girl turned into bad in form, but remained the same in content. A white cake, like white snow, can also cleanse, but if a little daughter eats it and enjoys it, then, no matter how the heroine of "Madame" revels in it, sympathy will not come to her anyway. The director and the audience can forgive, but she will never forgive herself.

And one more thing that I remembered, perhaps most of all, is the stunning visuals. I have not seen such an attractively beautiful person for a long time. An incredible light and colorful prison, an evening city, women's eyes with red shadows, death, murder or blood - everything that Park Chang-wok shoots - everything fascinates and makes you gaze intently at the screen. Such a movie is like a magnificent painting. And even if all the open-ended questions from "Sympathy for Lady Revenge" become closed for me, before my eyes there will be a stunning picture - without meaning, but mesmerizing with its beauty.