Please help and explain part of the plot of Lady Vengence?

Question

How did she meet that Bauk guy (the kidnapper) in the first place? it's really bugging me...

Answer 1

http://www.filmbrain.com/filmbrain/2005/09/nyff_review_sym.html
http://www.thegline.com/dvd-of-the-week/2006/01-06-2006.htm

Lady Vengeance is one of the most-anticipated movies of the year for us foreign film nuts, and so it is with great pleasure that I am able to inform you that the film meets expectations, which is to say it’s excellent. Anyone who is seeing Park Chan Wook’s work for the first time will be blown away, and anyone who has seen Mr. Vengeance or OldBoy will likely not be disappointed – this is as good as either. And more than in the prior two films, the slow, unwinding explanation as to why our heroine seeks revenge is so tantalizingly mysterious, that for the first half of the film, it works just as well as a suspense film as it does in the second half as a revenge drama.



I say “likely” not disappointed only because it does tread on familiar ground, and this is the first time while watching one of Park Chan Wook’s films that things felt a bit repetitive. Arguably they are distinct in tone. Arguably, Mr. Vengeance is the cold, austere look at revenge, OldBoy is a warmer, more-lighthearted approach, and now Lady Vengeance is a blending of the two, resulting in a distinctly fairy tale feeling. But certainly the similarities are greater than the differences, and while I never thought I’d say this, I’m glad to hear this is the last of the trilogy, and look forward to new, thematically varied material from the director.

The Plot: This film in particular depends on your figuring out the plot as you watch the film, so be warned that this synopsis is all one big spoiler, only because for the first half of the film you’re trying to understand the star and what makes her tick, and I suspect that if you knew it all up front, it wouldn’t have nearly the same effect.



Yeong-ae Lee stars as Geum-Ja Lee, who has been released from prison after 13.5 years, and the film starts as a group of people, impressed at her religious conversion while in jail, have come to meet her in the cold in santa outfits to welcome her back to society. The leader of the group offers Geum-Ja a plate of pure-white Tofu, explaining that this represents the clean slate before her and urging her to “stay white” like the tofu. But they’ve got Geum-Ja all wrong. “Why don’t you go screw yourself,” she tells them, and as she smashes the tofu plate on the ground, it’s clear she’s not on the path to redemption — she wants revenge, and she’s got a plan.

But what does she want revenge for? After a little bit of “hide the ball” on the director’s part we come to understand how she wound up in prison. She was 19, and Mr. Baek, a teacher (OldBoy star Choi Min-Sik), lured her into assisting in a kidnapping, explaining there were “good kidnappings” and “bad kidnappings” and that this would be a “good kidnapping” because nobody would be hurt. But when the kidnapped boy was discovered dead, the police linked her to the boy. Mr. Baek seized on this and forced Geum-Ja to confess to the crime by kidnapping Geum-Ja’s daughter and threatening to kill her. Geum-Ja confessed and in going to prison became a TV celebrity, as celebrated for her beauty as she was castigated for her alleged crimes.



Once in prison, however, it’s easy to see why the group of religious sympathizers had believed in her conversion – she played the saint, volunteering to take on the most unattractive tasks, helping the prison to deal with even the most troubling inmates, and when necessary accomplishing some wicked revenge on behalf of those who were bullied. At one point she even gives a kidney to save a fellow cellmate’s life! Although this saintly behavior may have earned her an early release, the real benefit was elsewhere — she had a virtual army of favors and friends who were willing to do anything she asked upon her release. One girl thought Geum-Ja was in love with her, but when welcoming her upon release comes to the cold conclusion “You never really loved me.” It’s actually a funny scene, the woman has gathered some clothes for Geum-Ja to start anew with, and instead of saying thanks, Geum-Ja takes one look at the clothes and cooly says “Don’t you have any high heels?”

You see, Geum-Ja is in control, she’s cool and collected, but she only cares about one thing — getting revenge on the man who set her up, and getting her daughter back. In that sense, it begins to sound like the Korean Kill Bill, but the similarities pretty much stop there. The first step in her plan is to have a gun made using a design given to her by a sick North Korean prison cellmate, who tells her “I give you this for you have vengeance to take comrade.” This gun design is ancient and has a very limited range. When the steel-smith who makes it points this out, she doesn’t mind, saying something like “that’s okay because it’s pretty, all things should be pretty.”



But the real part of the plan is to track down her daughter and find the man who set her up. The adoption agency refuses to tell her anything, so she breaks in and gets it herself (her daughter is now called Jenny), then shows up to meet the adopted parents, who are Australian. That’s a surreal scene. She instantly befriends them, and they’re all laughing so hard it’s highly unnatural. Geum-Ja prepares to leave her daughter with the couple, but Jenny is determined to travel back with Geum-Ja to Korea (threatening to cut her own throat if they do not comply with her demands!). Step 1 in the plan is taken care of, although Jenny has not yet forgiven Geum-Ja, repeatedly asking “Why did you dump me?” — in English, and as Geum-Ja doesn’t speak English, the language barrier prevents real discussion on the matter for some time.

Next, Geum-Ja tracks down Mr. Baek. A friend from prison has infiltrated his house and plays the role of his (abused) girlfriend, passing along information to Geum-Ja who prepares to move in for the kill. But Mr. Baek has his own informant — the head of the religious group that has been hounding Geum-Ja (in one funny scene she tells him she’s converted to Buddhism), and so Mr. Baek sends his own goons after Geum-Ja and daughter. It’s a tense scene, but she manages to fight them off and capture Mr. Baek.


“If you want a speedier, more personal punishment…”

Contrary to what you might expect, Geum-Ja does not kill Mr. Baek immediately. Instead she discovers he has kidnapped and killed other children, and with the help of the same policeman who got her convicted (and who now feels very guilty) rounds up all the families of the murdered children and spells it out for them: this is the man who killed your child, we can turn him over to the police, or “if you want a speedier, more personal punishment…” you can have at him right here. No surprise, they choose the latter (especially on discovering that he’d committed all these crimes primarily to raise money to buy a yacht).

But what if one of them rats out the group? Geum-Ja interrupts at this point, explaining that she had several people killed in jail, and that “If anyone informs… I won’t say any more.” With that hanging threat, they’re off to the races. We see Mr. Baek tied up — and that he has heard their entire discussion via an intercom that Geum-Ja set up (hehe). They decide to punish him individually, on the logic that, as one parent says, “We don’t all have to get the same menu.” This kind of language, when combined with some visual gags (rain ponchos are passed out for everyone to wear while getting their more “personal” punishment), provides for some comic relief in an otherwise heavy scene. At one point a husband (he and his wife have decided to address Mr. Baek together) says just before attacking Mr. Baek “This isn’t going to bring our son back, is it honey?” and then they go right ahead with their revenge, thereby mocking a traditional objection to revenge as an idea. The group even takes a commemorative photo at the end to mark the occasion.



At this point the movie is just about over, it certainly feels like it should be over. But the director assigned a lot of importance to the last few scenes in his dicussion after the movie, so I’ll emphasize it here. Geum-Ja sees an image of the boy she helped kidnap — she didn’t know that Mr. Baek would kill him but she obviously feels guilty anyway that she was an accomplice. Now that she’s had her revenge, she sees an image of of the dead boy — representing (at least to her) his spirit, except now he’s grown up, and it’s clear he doesn’t approve of what she’s done, of her revenge. The implication is that she did not find the redemption she was looking for, and she’s devastated by this fact. After the screening the director emphasized that this was a major theme of the film. Revenge comes from a horrible wrong, something so horrible that who you are just dies. But you’re reborn for the purpose of getting revenge, and that rejuvenates you until you get your revenge — but now your reason for living has again died, and at the moment of your accomplishment you are dissolved as a person again. Geum-Ja goes through this process in the film, and ends the story sobbing in the rain, giving a white block of Tofu to her daughter and saying “Be white, live white, like this” and then the mother literally smothers her entire face in the tofu, which masks her tears. The End.

Sympathy for Lady Vengeance certainly retreads material from Sympathy for Mr. Vengeance and OldBoy, and that alone is a bit interesting. Nobody attacks Sergio Leone’s The Good the Bad and the Ugly on the ground that it was too similar to A Fisftul of Dollars. The thinking seems to be “Yeah, it’s more of the same, but the same is awesome, so keep ‘em comin…” So I wonder a bit at my reaction to this film, which had a drop of “he’s repeating himself.” I love revenge stories, and I doubt I’ll ever get sick of them, but something in this third of Park Chan Wook’s trilogy felt an eency weency bit tired, and since I consider Park Chan Wook to be one of the greatest directors in the world, that was a smidge disappointing.



I didn’t feel that way about OldBoy — and I’m one of the seemingly few who liked Mr. Vengeance better. OldBoy felt new to me. More surreal, less serious and therefore less heavy to watch than Mr. Vengeance. Sympathy for Lady Vengeance in many ways bridges the two. It’s not as outlandish as OldBoy, nor as austere as Sympathy for Mr. Vengeance. In combining both elements, it results in a fairy tale atmosphere. Scenes like the commemorative group photo are reminiscent of OldBoy, and yet other moments (the camera footage of the murdered children, and the parents’ reactions) are more starkly emotional. Geum-Ja rides through both of these tones seemingly consistent, as if in a dreamy separate space of her own. I guess my reaction was, in sum, that I enjoyed the film immensely but I wasn’t chomping at the bit for another revenge film after the credits rolled. I’m not sure what else he should try next, but I suspect he’s said pretty much all he has to say on the revenge topic.

I emphasize this minor criticism – and it is a minor criticism, I think the film as a whole is quite good – only because I am surprised at my reaction. I feel like objectively I should be glowing with support for the film as the best of the year, and other than what I’ve said above, can’t put my finger on why I’m not quite that enthusiastic. But that aside, I doubt many fans of his earlier work will be anything but pleased with this latest release. It is a beautifully-shot, captivating story by a master director and I recommend it heartily. And to anyone who has yet to see a Korean film, if you liked Kill Bill or pretty much any other contemporary action/drama/revenge story, you’ll be blown away by Lady Vengeance.

http://www.cinemastrikesback.com/?p=650

Answer 2

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Answer 3

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Answer 4

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