It has been a while, but I have come to realise that, even more than my love for the written word is my love for the medium of film.

Perhaps because of all the exciting new technology that is currently being used (just look at Batman Begins), or perhaps it’s just a new innovative use of older technology (such as the Corpse Bride). Or sometimes, it can have nothing to do with a digital medium, but simply the fact that, at the heart of the movie, is a story that seeks to be told.

On Saturday as a prelude to Mel’s birthday dinner, we caught Sympathy for Lady Vengeance, the third in a series of revenge-themed movies (the first two being Sympathy for Mr. Vengeance and Oldboy) by critically acclaimed Korean director Park Chan Wook. This would be my first Korean movie, so I had initially decided to come into the cinema with an open mind. But whoa, nothing could have prepared me for this.

I think what made me love the film was the intro sequence right at the beginning. It was so simple yet so stylish that it was hard not to just appreciate the beauty of the whole animation. The only other time I saw something similar was in a Bjork video and it just didn’t have the same effect. If I could, I’d watch it all over again just to see the opening sequence.

The movie itself is a mix of storytelling styles. From the beginning, you are thrown into the midst of the movie, as you are introduced to Geum-ja, the protagonist and the titular character (play by the very versatile Lee Yeong Ae) who has just ended her prison term for kidnapping and murder. A series of flashbacks seem to indicate that Geum-ja has undergone a total conversion to Christianity and is determined to start life afresh, but the build-up simply makes her decision to carry out her plan of revenge all the more poignant.

Through even more flashbacks, we discover that Geum-ja’s manipulative nature has made her many friends in prison, even though for less than scrupulous means. Through these “favours” owed her, she orchestrates a simple, yet poetic means of fulfilling her need for vengeance. That is, until she discovers that she’s not alone in this need.

Many have compared this film to being a poor follow-up to “Oldboy”, perhaps the movie that truly earned Park his director stripes. That being said, I’m glad I didn’t catch “Oldboy”, because my expectations coming into this movie were more than well met by the sheer beauty of the whole ensemble. One notices immediately the stateliness of the sets. Even the old dilapidated school building has a sense of classic grandeur about it. But the sets and the excellent cinematography are just the icing on a very moving tale.

Despite being hailed as unoriginal by some, the plot is well-paced and keeps the viewer constantly glued to the images. While all the actors (many brought in wholesale from the cast of “Oldboy”) demonstrate a depth that is hardly found in the glamour of Hollywood, it is Lee Yeong Ae’s performance as the lead character that truly defines her as one of the most impressive Asian actresses today. Her ability to act a whole gamut of emotions from hatred to love, from anguish to carthartic pleasure is very believable and cements her as being arguably the only actress to be able to pull off this role.

Special mention must go to Choi Min-sik for his role as the antagonist, and Nam Il-woo for a superb performance as the elderly detective for their ability to play their roles so convincingly at yet inject much needed dark humour to keep the plot from descending into angsty overkill.

Overkill. Heh.