Horror as a genre has undergone scores of changes since its inception in the 1890s. With the advent of a motley of filming techniques that made their presence felt during that time and still do, horror films have withstood the disparate aspects that a multiplicity of filmmakers have incorporated into them. Screams and gory sequences accompanied by chilling music are considered to be fundamental aspects of the category. Yet one particular film captivated the global public with a unique perspective.
A Joseon folklore reinterpretation that settles for dense shudders rather than hurried trepidations, the Kim Jee-Woon-directed film A Tale of Two Sisters leaves the audience at the edge of their seats. A psychological thriller, unlike its numerous predecessors, the film chronicles the life of Bae Su-mi (Im Soo-Jung) who returns to her sister Su-Yeon (Moon Geun-young) and countryside abode after spending time in a mental institution. With their father Bae Moo-Hyeon (Kim Kap-soo) appearing distant and aloof, they are at constant loggerheads with their stepmom Eun-Joo (Yum Jung-ah). To add to their woes the sisters are progressively plagued by several mysterious incidents, all of that point to an unspoken non-acceptance of reality.
Lined with various twists the film served as an introduction to the world of Korean cinema and the potential it offered as a result of being the first Korean film to be screened in American theatres. The multi-faceted approach undertaken by the director shines through mainly with the usage of sound, colour and attention to detail in terms of décor.
Red, a colour many interpret for love, anger, passion and revenge appears throughout the film. Be it on the clothes that the girls choose to wear or the tiles that furnish the kitchen, the usage of the hue aids in conveying the rage that Su-mi is filled with and her refusal to acknowledge the stepmother. She views her father’s second wife as the harbinger of misery since she stepped foot into their lives. Despite the new mother’s innumerable attempts to placate them, Su-mi continues to view her as someone with a warm façade on the outside but has varied secrets lurking deep within her. A feeling akin to the one her sister portrays towards the house. Su-Yeon's clothes more than often are a semblance of her environment, thus making her fade into the background. She is represented as a fragile and innocent girl who has no qualms living in her sister's protected shadow.
Constant camera angles panning to focus on the feet during distinct scenes depict the suffocation that Su-mi feels. The picturesque landscape that surrounds the house offers little respite to her growing belief of being trapped, with the bird cage that hangs over her head serving as a visual metaphor for the same.
In a typical horror film, sound plays a pivotal role. To convey tension and build suspense during a particular scene the tempo may begin to pick up. However, Kim’s usage of silence and restriction of its crescendos for specific instances leave the masses feeling unsettled and builds anticipation of expecting the unexpected. Impressions of eeriness and uncanniness seep throughout the film with impending shots of the disorienting winding corridors. Foreshadowing of the curveball that would sweep people off their feet can be picked on by eagle-eyed moviegoers with references appearing during the opening act.
Slithering cinematography to complement the opulent set design, as well as the multi-pronged characters, are at the centre of this tightly-spun narration. Being showered with substantial attention from the Western world as well as its Eastern counterpart, the film collected an assortment of awards at countless film festivals. One cannot forget the driving force behind A Tale of Two Sisters – the female protagonists, who shouldered immense responsibility to express varying stages of confliction. Yum Jung-ah and Im Soo-Jung were nominated at the 24th Blue Dragon Awards for their acting prowess with the latter winning Best New Actress.
Few films are able to stand out and are remembered fondly amongst a long line of their precursors. Adapting the Joseon-era folktale, “Janghwa Hongryeonjeon '' which roughly translates to “The Story of Janghwa and Hongryeon” and staying true to its lineage is a tricky feat. Nonetheless, Kim Jee-Woon rose up to the occasion and crafted a masterpiece that cemented his legacy and the position of Korean cinema on the world map.
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