(Originally published in <
Comparing the social and cultural awareness of the two versions of <
The background of the story of the 1960 version of <
Lin Changshu's version starts with a bustling night market, and then most of the pages are left in the super mansion of the male protagonist. It seems to continue the class contrast of the old work, but on the whole it has a sense of absurdity, but this is not the case. Deliberately created, but incompatible with the opening scene. Jeon Do-yeon plays Lee Eun-yi, who is highly educated and has expertise in caring for young children. At the beginning, she only works in a restaurant. Later, she became a super-rich domestic helper, taking care of the hostess who is pregnant with twins and her four- or five-year-old daughters. . There is also an old maid in the mansion whose son has just become a prosecutor. The surreal thing is that the director made this rich family look like a palace movie in the feudal era. The male protagonist's family is not a hard worker but wants to climb to the upper middle class, but a very rich capitalist, and there are several assistants sent to the door when they return home. , Usually drinking red wine and listening to classical music is a natural upper-class life, and the youngest daughter has been fascinated by her since she was a child. The hostess does not have to work at all, and the relationship with her daughter is not close. The huge mansion is like a palace, the floor is reflective, the chandelier is shining, and the space is disproportionately large. In the old work, the maid took the initiative to seduce the man, and then competed for his body and mind; the man in the new work took the initiative to take the initiative to Enyi, but had no affection for her, and only regarded her as a sex doll, just like an emperor (Enyi). The scene where Yi gives him oral sex, he slowly raises his arms, puffs up his biceps, and shows a gesture of strength). When Enyi was pregnant, the hostess planned to deal with it as if she wanted to be the first to give birth to a "Dragon Child", and her deceitful mother was like an ancient "mother queen". In the end, the hostess poisoned Enyi to abort her, and Enyi committed suicide in front of their family as "revenge".
The richness of techniques and imagery used in the old works is far superior to the new ones.
The image of "rat" is the source of the horror of the old version of <
In terms of sexual awareness, the new version of the heroine is more passive than the old version, showing a retrogression from the modernization period to the consumer society. Film scholar Li Xiaoren pointed out that the sexuality of Jin Qiyong's films "can be an intermediary transaction method of collusion between classes." For a time, the hostess was served like a servant, and the position of power was completely changed. But Jin Qiyong did not take a feminist perspective, and even demonized the maid, but this role is the most powerful in the play, and it really hits the soft underbelly of middle-class families. It can be said that it is a social problem derived from the modernization period, and it can also be said that women, as an erotic subject, do everything possible to find a position. Compared to the male master's sanctimonious appearance at the beginning, to the completely incompetent state of being completely controlled, the remaining wife and the maid barely fought, and he was just the object of competition. Then the gender awareness of the new version of <
If Jin Qiyong's lens shows some kind of tragic class conflict, the new version is a victory for the capitalists, which is unbreakable like a feudal dynasty. The dominance of the male host is unshakable. Even if the hostess is annoyed with him, she cannot give up her wealthy life, but she hopes to consolidate her position after giving birth to a son. Through the old servant's repeated emphasis that his family has always been "despicable and shameless", and the hostess's mother instigating her to be patient, to imitate her mother-in-law, and to be able to live happily ever after after giving birth to a son, it is implied that the male host is probably from a corporate kingdom. Heir, and so morally corrupt in his father's generation. The director is still a little weak critical: even if the external relationship of the upper class family is maintained, there is no emotion in it. Enyi has a good relationship with the host's daughter, and the last "revenge" seems to be aimed at the next generation, dying in the most violent way in front of the child's eyes, and haunts like a ghost since then, so the little girl at the end is so dazed. But just as the previous generation was already "despicable and shameless", and the "mother-in-law" who never appeared on the scene also suggested that the family relationship had long since dissipated, it seemed that such a capitalist dynasty would continue.
The erotic subject of the old version of the heroine regressed into a erotic object in the new version. The role of a sexy weak girl is familiar to Jeon Do-yeon, and the innocent and silly character is a temptation, which arouses the conquest mentality of men----Lin Chang Shu made the audience an accomplice; he brought in the internationally renowned actress Jeon Do Yeon, of course, because of market considerations, and it was the same for the audience as for the male host. He regarded her as a lust object from the moment she was wearing a maid's skirt to wash and bathe. The stare begins (this image was made into a propaganda poster). The reproduction of luxurious life on the screen and the temptation of Jeon Doyeon's uniform satisfy the audience's desire, which is the victory of consumerism.
1 Li Xiaoren, translated by Zhang Min: <
2 Li Xiaoren: Ibid., p. 221.
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