The Housemaid

There was a distinct symbol throughout both versions of the film, symbols blatantly obvious, ever so
present in particular shots and angles. In the 2010 version of the The Housemaid, it was the
chandelier in the mansion. However, in the 1960 version, it was the rat poison, a prominent symbol
that propelled the plot further. The original version of The Housemaid’s main symbol was grotesque
in its demeanor; it appeared with throes of dying rats and brought others, like Kim’s son and the maid
herself, at death’s door. I would say that the 2010 version’s symbol is just as ugly. As the chandelier
appears in various shots, it seems tranquil, beautiful in its green and shimmery grandeur. But if one
looks closer, as Eunyi enacts her revenge, the chandelier has a much uglier nature. 

Instead of orbs the chandelier is made of what appears to be broken glass shards. It’s no designer
chandelier, and it’s quite the ugly way to die. The same circumstances occur to Myungsook in the
1960 version; she dies a brutal death as she succumbs to the rat poison. Both heroines were destined
to die alone, albeit in different manners. Their sources of death appear to be beautiful in their own
superficial way—a chandelier and rat poison are meant to up one’s quality of life, not destroy it—but
hold a lethal nature under the surface. 

Perhaps this is what Korean filmmakers want of women in film after a long suppression. Like the
Kim Soyoung and Chris Berry article says, “‘The women are not only dangerous because they are
sexual, but also because they desire social mobility.” The women in these films are choosing their
own destinies, choosing to be enticed or seduce the ones above them. In a conservative Korea where
many women are expected to simply stay at home, this is considered a loss of pride. And in Korea,
one’s pride and how they are viewed is the most important factor in their lives.  

These Korean women appear docile and timid at first, going to the whims of their bosses, but are
willing to take a stand for what they want. For Eunyi, this is her final traumatizing revenge, while
Myungsook takes Changsoon’s life for her unborn child’s life. They, like the symbols mentioned
before, are meant to improve the quality of life for their bosses as housemaids, but everything meant
to be beautiful comes with consequences.