![]() ![]() Waters herself concedes that “it seemed a slightly mind-boggling idea”. In the novel, the pickpocket Sue is lured away from a bustling thieves’ kitchen in London to the countryside with the promise of a share in a soon-to-be-stolen fortune in the film, seamstress Sook-hee is hustled off into a rainstorm on an undeclared mission at the house of a rich Japanese recluse, leaving a wailing chorus of women and babies huddled beneath the eaves of their roadside shack.įans of the novel might well wonder how Waters’ richly verbal story of lesbian sexuality – a gasp of release from the sensuously evoked corsetry of Victorian female propriety – could survive this transformation, and not least because the director is a man, with a reputation for making macho films of extravagant violence. ![]() The Handmaiden transports the story from Victorian England to Korea in the 1930s, when the peninsula was occupied by Japan. ![]() Now it has been reimagined in film by Korean director Park Chan-wook, who has defied differences in culture, gender and media to create a complementary classic of erotic cinema. Published in 2002, Fingersmith is a story of deception involving a pickpocket, a conman, a pornographer and an heiress. ![]()
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