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Untold Scandal
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Directed by E J-Yong
Writer/director E J-Yong transposes Choderlos de Laclo's novel Dangerous Liaisons to Korea during the repressive 18th century Chosun Dynasty for his costume drama, Untold Scandal. Lady Cho (Lee Mi-Suk, who also starred in Yong's debut, An Affair) decides to get revenge on her husband when he procures the services of a young, virginal concubine, Lee Soh-ok (Lee So-yeong). She asks her womanizing cousin, Jo-won (Korean television superstar Bae Yong-Jun, in his first starring role in a feature film), to seduce the girl and impregnate her. Cho-won doesn't see this as enough of a challenge. He has his sights set on an honorable young widow, Lady Sook (Jeon Do-Yeon), nicknamed "The Gate of Chastity." Lady Cho makes a wager with Jo-won, offering herself to him if he provides proof that he has succeeded in seducing the widow. While Jo-won struggles to ingratiate himself to Lady Sook, manipulating her handmaiden, and donating money to her Catholic church, Lady Cho works to get the innocent Soh-ok in trouble. But things take an unexpected turn when Lord Jo-won begins to develop genuine feelings for his prey. Untold Scandal was a huge box-office success in Korea, and it was shown at the Film Society of Lincoln Center and the Museum of Modern Art as part of the 2004 edition of New Directors/New Films. ~ Josh Ralske, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
The world hardly needed another version of Dangerous Liaisons. The story is excessively familiar by now in all its cynical, darkly amusing twists and turns. But gifted writer/director E J-Yong still manages to make the material engaging. Setting the film during the Chosun Dynasty and filling the screen with elegantly composed images and vibrant colors gives the story a fresh jolt that makes it worthwhile. No one in the cast stands out as much as the director's startling palette (as captured by cinematographer Kim Byeong-il, who shot Sympathy for Mr. Vengeance), but they are all attractive and convincingly charismatic. The film also benefits from its effectively playful eroticism. The lavishly vibrant set and costume design, all exquisitely captured to the point of sensory overload, is enjoyable but anachronistic, as the strict Confucian teachings of the time allowed for a more limited color scheme. E J-Yong's use of European baroque music also creates a bit of dissonance, which it seems the filmmaker intended. All this adds up to a reasonably entertaining film, but the familiarity of the story saps it of emotional and thematic resonance. ~ Josh Ralske, All Movie Guide
 

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