User Reviews

"Mind your own business"—the moment Koreans, who valued only kindness as virtue, realized something new through Geum-ja's elegant fury.(Rewatch) 241022 (5.0)The iconic lines "Mind your own business" and "I didn't want to look too kind" marked a pivotal moment in Korean cinema, challenging the traditional virtue of passive goodness. Even watching it again now, the film's aesthetic remains incredibly sophisticated. There is a haunting beauty in Lady Geum-ja’s elegant yet brutal resentment, crafted with a visual sense that feels timeless. The way the film balances the macabre with the graceful creates a unique atmosphere of refined vengeance. It remains a masterpiece that captures the raw sorrow and calculated rage of a woman wronged, wrapped in a cinematic style that is both sophisticated and emotionally devastating. Seeing her navigate her path toward atonement and revenge is as breathtakingly powerful today as it was during its first release.

An incredible Count of Monte Cristo story with an absolute top-notch soundtrack. Easily rewatchable as the director does not insult the audience; its non-linear approach can be difficult to follow, but there's so many details throughout the movie that demand repeated viewings. The difficult-to-watch scenes are quickly offset by scenes of revenge, satisfying baroque-style music, and excellently framed imagery. Geum-ja Lee is a powerful female character. She has many flaws and her actions vary from morally questionable to straight up murder, but there's never a doubt in her reasoning. Some cuts are kind of odd and the musical themes could have been spaced out a bit more at parts, but this remains one of my favorite films.

This story is packed with potently sympathetic moments, and it contains one of the best female protagonists of all time.

With a beautifully told story, great cinematography, good acting performances and interesting characters, Lady Revenge, arguably the most obscure movie out of the whole "Vengeance Trilogy", is a great revenge flick. If you liked the previous two movies in the trilogy, you'll enjoy this one for sure.

Dernier volet de la trilogie vengeresse de Park Chan-wook, Lady Vengeance est moins dingue, moins excentrique que le premier, plus rythmé que le second mais le plus tire-larmes des trois... et en même temps, le plus élégant. Il est aussi le plus contrasté puisqu'après sa première partie extrêmement grinçante (et pour tout dire ponctuée de moments hilarants, c'est-à-dire d'une cruauté jubilatoire), la seconde est d'un pathos terrifiant... Le réalisateur met ainsi la douleur de la perte littéralement à nu, cette souffrance morale inextinguible et inexpugnable des victimes dont la rage la plus froide espère une rédemption, que la vengeance daignera leur accorder ou non... Il souligne également avec beaucoup de justesse le moteur que constitue le désir de vengeance, puis le désespoir qui lui succède... Oui, c'est une tristesse infinie que nous dépeint à la fin le cinéaste coréen... avec peut-être un tout petit espoir. Eventuellement. L'actrice principale est exceptionnelle d'intensité dans sa colère rentrée, sa haine mais aussi sa dépression, sa culpabilité et ferait sans aucun doute un sujet de choix pour la psychanalyse tout entière. Quel brio et quelle magnifique névrose... que la belle musique de facture très classique souligne encore un peu plus, si besoin était. On peut regretter cependant que la narration soit quelque peu décousue avec beaucoup de retours en arrière et parfois une ou deux séquences un peu confuses (la gamine avec ses parents adoptifs vers la fin ?). En tout cas, la mise en scène reste originale et souvent percutante tant dans ses excès d'ironie au vitriol que dans le mélodrame pour finalement un film très émouvant et une sorte de fable sur la vengeance, laquelle comme un certain argent ne fait certainement pas le bonheur... mais semble y contribuer... à sa façon comme une violente thérapie peut-être plus redoutable encore que le mal qu'elle est censée... "soigner".

Lady Vengeance is a powerful movie which starts just like any other movie. With flashbacks which introduces new characters. Then it starts making a shape which is not much different then many of the revenge movies. However, it really gets interesting during last half an hour. Revenge for yourself is not enough, let other serve this dish at the best of the time. Yet it finds little comic moments. There are some questions which are left unanswered as is the ending confusing but it is very satisfying with it's climax which is brutal yet clean and impressive. Most powerful of all the the direction and acting. Every one on screen has been marvellous. Cinematography also needs a mention so does the editing. Background score is very experimental and could be held single mean of amusement in the movie.

"Lady Vengeance" is an unsettling mix of stylish visuals, surreal fantasy, and shocking violence. Chan-wook Park's "Lady Vengeance" is the third and final installment of his "Vengeance Trilogy," which are linked by theme only--not literal sequels. Park positively revels in the artistic possibilities of good old-fashioned badness. Beyond the unsettling storyline, violence, and bloodshed-- there lies a splendor of exceptional film making by Park, and a marvelous performance by Yeong-ae Lee to appreciate. Anyone who has enjoyed the filmmaker's previous works will appreciate what this film has to offer. After thirteen and half years in prison for kidnapping and murdering a young boy, Geum-ja Lee (Lee) is released from prison and tries to fix her life. She finds a job in a bakery; orders the manufacturing of a special weapon; reunites with her daughter, who was adopted by an Australian family; and plots her revenge against the real killer of the young boy, a English teacher named Mr. Baek (Choi Min-sik.) Geum-ja Lee enlists the aid of her prior inmates and friends, who had come to recognize her for her kindness and caring while incarcerated, and are all too willing to assist in her revenge. Geum-ja is after gruesome justice of a distinctly personal nature. It's her overwhelming grief and anger, and her unwavering conviction in an act she knows will taint her beyond redemption, which in turn gives her obsessive odyssey its intensity. Reflecting on the "Vengeance trilogy," it becomes apparent that each film focuses on a different aspect of revenge. In "Sympathy for Mr. Vengeance," (2002) Park highlights the irony of vengeance, and how the violent and impulsive acts of the main characters all stem from love. "Oldboy" (2003) focuses on the madness inherent in the quest for vengeance. Finally, "Lady Vengeance" is about salvation and the morality behind the need for vengeance. As the final film of the theme based trilogy--"Lady Vengeance" comes across as a combination of its predecessors, with slick cinematography, gorgeous production design, and a wonderful musical score. The self-imposed sentence served is utterly brutal and gruesome, and yet unconventionally satisfying. Revenge is a dish best served cold, but only enjoyed when shared by a group of like-minded diners, accompanied by a classical Vivaldi score for a final banquet of closure.

The film is very interesting especially in the way that it handles the flashback sequences. The major problem with this film is the fact that the ending doesn't really seem to fit with the rest of the film. Also the ending makes it seem like less of a revenge film and makes all the prison flashbacks seemingly less important.