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Before seeing it I'd heard Bedevilled referred to as "a female Deliverance," and I came out of it surprised just how spot-on a description that turned out to be. Not in the facile Hollywood way you expect such a statement to pan out - it's not "a female Deliverance" in the sense that Pride and Prejudice and Zombies is Jane Austen with brain-eaters smashed on top. In broad terms the plot is similar - city-girl heads to the country for some R&R only to be confronted with barbarism and violence - but the way the story unfolds it made me think less of Deliverance than it did I Spit On Your Grave. (Yes, it's a revenge tale from South Korea! Shocking.) It veers left when you think it's going right, and is the cleverer (and blessedly more character-focused) for it.
But thematically is where Bedevilled has more in common with Deliverance than it ultimately does in the way of its telling, because it's really a story of urban apathy and the way it cuts us off from those who need us - of friendship (this round indeed female) challenged and ultimately undone by the compartmentalization of our humanity. About how we can be too far removed as outside observers in our own lives, even where we most should act.
Like most revenge tales the film grows murkier point-wise as the increasingly horrific revenge is doled out and we the audience grow more and more bloodthirsty. And it runs a little long. But Yeong-hie Seo gives a justly praised performance that runs the gamut, and Chul-soo Jang, with his first film, proves he's got himself an interesting voice taking what'd become well-worn South Korean revenge off into some curious and under-explored territory.
Mainly it's just really damned good at making your eyes turn red with venomous rage. There was an old lady sitting in front of me exuberantly applauding the graphic on-screen slashing of another old lady, and if that isn't a giant point in the plus column then I don't have a clue what we're here for.
Like most revenge tales the film grows murkier point-wise as the increasingly horrific revenge is doled out and we the audience grow more and more bloodthirsty. And it runs a little long. But Yeong-hie Seo gives a justly praised performance that runs the gamut, and Chul-soo Jang, with his first film, proves he's got himself an interesting voice taking what'd become well-worn South Korean revenge off into some curious and under-explored territory.
Mainly it's just really damned good at making your eyes turn red with venomous rage. There was an old lady sitting in front of me exuberantly applauding the graphic on-screen slashing of another old lady, and if that isn't a giant point in the plus column then I don't have a clue what we're here for.
Check out what else is showing at the New York Asian Film Festival here
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