Lady Vengeance begins with our main character, Geum-ja Lee (played by Lee Young-ae), being released from prison. She’s presented with a block of pure white tofu, which is traditionally given to prisoners by their families upon release from jail. The tofu represents a new beginning: now that the criminal has paid their debt to society and is starting to begin their life again, they are trying to once again be as pure as the white tofu they consume. While we look around at other prisoners participating in this ritual, we see that Geum-ja has no interest.
It’s been almost seven years now since the release of Sympathy for Lady Vengeance, otherwise known by its simplified title Lady Vengeance, and even after all this time this film is still overshadowed by its inferior older brother Old Boy. While Old Boy is one of the most discussed and imitated films of the past 10 years, Lady Vengeance appears to mostly be relegated to a footnote, which I believe is a gross disservice to a great film.
|Lady Vengeance Level 59|
|Legendary Cannon (two handed)|
|437 Damage per Second|
|Average Attack Speed (.99 seconds)|
Physical Damage: 144-288
Electric Damage: 144-288
|O Empty Socket|
O Empty Socket
+12% Attack Speed
-188 to All Armor pet hit
Conveys 35% chance to Stun target for 2 seconds
Conveys 20% chance to Burn for 5 seconds
|Requires Level 66|
Strength 75 & Vitality 134
|Legendary Cannon Collection|
Number One of Three
This dissertation performs close readings of a body of well-known East Asian films. The Japanese films discussed include Kitano Takeshi's Hana-bi (1997) and Fukasaku Kinji's Battle Royale (2000). From Korea, the dissertation focuses on Peppermint Candy (1999, Lee Chang-dong), The Coast Guard (2002, Kim Ki-duk), The Chaser (2008, Na Hong-jin), and four films by Park Chan-wook: Joint Security Area (1999), Sympathy for Mr. Vengeance (2002), Oldboy (2003), and Lady Vengeance (2005). Through an analysis of these films, this dissertation argues that the narrative cinema of South Korea and Japan, produced between 1997 and 2008, uses the representation of violence to foreground and critique the ideology of capitalism.
I’m really glad you revisited Lady Vengeance, which is a fantastic movie and a must watch. Not just because it’s about revenge (granted, I am the biggest fan of revenge stories), or because it was made by Park Chan Wook, but mostly because it’s one of those rare revenge movies where 1) The main character is a woman; 2) She wasn’t raped.