Synopsis
Im Sang-soo, a well-known South Korean filmmaker, directed a movie called The Taste of Money (Do-nui Mat), an erotic thriller released in 2012. It is a sequel to Sang-soo’s 2010 film The Housemaid, and this film dives even deeper into South Korea’s ultra-rich elite, showcasing a story filled with greed, lust, and power. It is a slow but revealing critique of capitalist society wrapped in a melodramatic erotic film.
The story revolves a powerful, morally-degenerate family conglomerate, framed in a luxurious mansion at the outskirts of Seoul. The family is headed by the cold and controlling matriarch, Yoon Namsun (Youn Yuh-jung), and her husband is Yoon Jin-sang (Baek Yoon-sik), the business empire’s figurehead in name only. Everyone around is aware that Namsun is the one to call the shots.
The family’s business and personal lives are managed and hidden by a personal attendant, Joo Young-jak (Kim Kang-woo), who is, handsome, loyal, and an emotionally passive dual to his wife. Young-jak starts as a disinterested bystander but quickly turns into a key player after the Yoon family’s secret life is briefly revealed to him.
Young-jak finds out that Chairman Yoon is cheating on his wife with the family’s Filipina maid Eva. When Namsun finds out about the affair, she retaliates by seducing Young-jak. This is the beginning of his downfall as he is drawn deeper into the family’s morally depraved world. Meanwhile, Eva’s affair with the Chairman Yoon further complicates matters as she is now pregnant with his child.
Young-jak’s ethical lines become increasingly blurred. Initially, he tries to aid Eva in escaping the family’s captures, but he quickly realizes that he is too embroiled in the family’s power struggles. Tragedy strikes as Eva is murdered in what appears to be a calculated assassination to safeguard the family image. Chairman Yoon, flooded with remorse and guilt, commits suicide by leaping from a building.
These events push Young-jak over the edge as he tries to disassociate himself from the family’s corrupt web. Enraged and disillusioned, he is met by Yoon Namsun, who is still eager for power, and offers him a tantalizing proposition—substituting him for her son in the company. Ultimately, in the final moments, Young-jak decides to walk away and not be complicit any longer. The film’s final moments dramatically captures the unsettling reality of emptiness, highlighting the futility of wealth devoid of morality.
Cast & Crew
Youn Yuh-Jung as Yoon Namsun
Youn Namsun is the cold and calculating matriarch in this family saga, and Youn does not disappoint, bringing depth and nuance to the character. A hallmark of Youn’s career, she is known as a legendary figure in the Korean film industry, and her portrayal cold, ruthless character is as chilling as the character she plays. Youn embodies the dichotomy of a woman both scorned and power-hungry, and through her, we see the depth of a character who is corrupted by wealth.
Kim Kang-woo as Joo Young-jak
Kim is the quintessential everyman, and his character Joo is torn between moral decay and unending excess. The shift from devoted employee to a disenchanted drone in his life is one brought about subtly and patiently. The struggle between stillness and inner struggle as depicted through Kim’s performance demonstrates a tension and a rich story that needs to be told. His character is both empathetic and captivating in stillness.
Baek Yoon-sik as Chairman Yoon Jin-sang
Baek effectively plays the ageist stereotype, as the patriarch of the family and a character that is seemingly in complete control. He is emotionally bankrupt, and the guilt from his affair with the maid is an open secret that serves to illustrate the shallow nature of a privileged life.
On Joo-wan as Chul, the son
Chul is the son of Namsun and Jin-sang and is immature, a product of unearned affluence. He embodies both the danger and the pity of being dangerously naïve to social realities.
Director & Writer: Im Sang-soo
As someone who has worked on films such as The Housemaid and The President’s Last Bang, Im Sang-soo is no stranger to societal critique or controversy. Im uses cinema as a means to dissect Korean society, particularly the elite class. The Taste of Money, explores and amplifies the themes of sexual politics, class, and moral decay.
Cinematography: Kim Woo-hyung
The style and visual imagery of the Yoon mansion in The Taste of Money captures both the coldness and the opulence, along with the class and moral decay. The sterile luxury serves as a visual metaphor for emotional emptiness and moral vacuum.
Music: Kim Hong-jib
The score of the film captures silence and ambient sound. When it is used, it enhances the feeling of discomfort and tension, like in the film’s silence. The score is minimalist by design, and as such, amplifies the film’s darker elements.
Critical Reviews and Ratings
The Taste of Money has an IMDb rating of 5.7. The film has been acknowledged for its visual elements, as well as the courage to tackle taboo subjects mindfully. Despite the praise, The Taste of Money has faced backlash over its pacing, symbolism, and its particularly stylized melodrama.
Im Sang-soo has been praised for his boldness in dealing with taboo topics such as sexual exploitation, the corruption of the wealthy, and ingrained systemic rot. The film’s depiction of the power dynamics of men and women, masters and servants, as well as the rich and the poor, is relentless. Still, some critics pointed out that the film’s emotional distance made engagement difficult and weakened sympathy towards the characters.
The film was showcased in the competition lineup for the Palme d’Or prize at the 2012 Cannes Film Festival. Its selection at such a prestigious venue signals the film’s international recognition, especially in the realm of arthouse and socially provocative cinema. While the film didn’t receive the top prize, the conversations it sparked was a testament to the bold themes and production quality on display.
Cinematic Legacy and Influence
While it may not be as globally recognized as other films from South Korea like Oldboy and Parasite, The Taste of Money is still an essential South Korean film that deals with class and capitalism. It acts as a sequel to The Housemaid as it continues Im Sang-soo’s exploration of the notion of wealth and moral decay.
Much like The Great Gatsby, Eyes Wide Shut, or even Succession, The Taste of Money shares an unflinching glimpse into the private lives of the ultra-wealthy. However, the film sets itself apart by incorporating a distinctly Korean viewpoint, which delves deep into familial structures rooted in Confucianism, corporate dynasties, and a post-industrial narrative that has defined the recent history of South Korea.
The film additionally touches upon South Korea’s social hierarchy with particular attention to the treatment of domestic workers. Eva’s storyline represents a powerful, tragic social commentary on the ways in which the marginalized are utilized, discarded, and silenced within the society’s powerful institutions.
The character of Namsun simultaneously critiques and challenges the stereotypes of women in Korean film. She cannot be classified as a victim or as a simple villain. Instead, she embodies a profound intersection of womanhood and power that serves as both an obstacle and a danger to feminism in patriarchal capitalism. Her emotional distance, which enables her to endure, also reflects the lifeless void where the love should be in a society dominated by wealth.
Students exploring world cinema will find the blend of sexuality, politics, and psychological anxiety in The Taste of Money fascinating. The film itself might not be for everyone, but it serves the purpose of exploring societal issues and the sinister side of wealth, making it an unsettling yet thought-provoking experience.
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