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Korea Herald
07-06-2025
- Entertainment
- Korea Herald
Different layers of motifs, puzzles bring stylish take on 65-year-old female killer
'The Old Woman with the Knife' and its film adaptation offer diverging visions of aging, violence and redemption "The Old Woman with the Knife" by Gu Byeong-mo follows a female assassin nearing the end of her career — a striking and compelling premise that has proven irresistible for adaptation. The hardboiled Korean action-thriller novel, originally published in 2018, was reimagined as a musical last year and its film adaptation premiered at the 75th Berlin International Film Festival. It follows the story of Hornclaw (played by Lee Hye-young), a 65-year-old assassin whose age is beginning to catch up with her, and Bullfight (Kim Sung-cheol), an enigmatic young man who trails her with unclear motives. Her line of work, already dangerous, grows more precarious as she ages, and the world around her begins to see her as obsolete. 'She's like the legendary gunman whose hands have started to shake,' said director Min Kyu-dong at a press conference. 'Then a hotheaded newcomer shows up and challenges her to a duel. When she refuses, he starts firing wildly to provoke a confrontation.' Both the novel and the film center their narratives on this aging killer. But while the book turns inward, delving into the psychological weight of growing old — questions of powerlessness and the meaning of existence — the film leans outward, embracing visual spectacle through action-packed confrontations, tense chases and uneasy alliances. At its best, the film is not a retelling, but a divergent reflection of the same story — like a puzzle assembled from the same pieces, yet arranged into an entirely different picture. Bullfight and Hornclaw: Rivalries in two registers One of the starkest differences between the novel and the film lies in the characterization of Bullfight. In the film, his backstory is clearer and more emotionally grounded, hinting at a traumatic event that not only fuels his obsession with defeating Hornclaw but also his desperate need to leave a mark on her life. For the film to work, Bullfight's world had to be as robust as Hornclaw's, according to the director. "What could have pushed a young man to seek out a showdown with an aging killer? Perhaps a traumatic event, powerful enough to upend his entire life, is what drives him," said Min. 'With a novel, if something doesn't make sense, you can close the book and come back later. In a film, the moment passes, and if you don't understand, the rest of the story might not land.' The novel resists clarity. Bullfight's motivations remain ambiguous, his feelings toward Hornclaw unreadable. Gu has consistently declined to offer any clarification since the novel's release. 'It's the part readers are most curious about,' she said. 'But if I give a clear answer, the mystery disappears. I want readers to sit with their own questions.' Power struggle Another key divergence appears in the portrayal of the fictional company. In the novel, the shadowy organization of contract killing is referred to only vaguely as 'the agency." Both Hornclaw and her former partner and mentor, Ryoo (Kim Moo-yul), recognize the moral compromise inherent in their line of work, fully aware that their so-called 'clean-up' jobs are, in the end, acts of unforgivable violence. In the film, the moral framing is more ambiguous — even somewhat palatable. Hornclaw describes her work as a kind of sacred duty, targeting only those whose crimes seem to warrant death. There are boundaries, rules that govern her actions. The agency's director, Son (Kim Kang-woo), harbors ambitions to modernize it and ultimately edge Hornclaw out. Their conflict deepens as Son aligns with the newcomer, advocating for new ethics and methods within the agency. This clash reflects not only generational tensions but also a clash over justice, efficiency and the value of human life, leaving the aging Hornclaw increasingly sidelined and dismissed. Moral ambiguity Similar to the ethics of the agency that Hornclaw clings to, the film portrays her as a figure holding onto some sense of justice and righteousness, with her first love, Ryoo, also lingering as a sacred yet mysterious presence in her past. For example, Hornclaw's first murder is deliberately ambiguous in the film. The novel, however, offers a harsher, more unsettling interpretation: Ryoo intentionally abandons the young Hornclaw in a dangerous situation, out of a need to take care of the offender. Far from heroes, the novel suggests that neither Hornclaw nor Ryoo was innocent or virtuous. The novel devotes considerable space to Hornclaw's troubled history: her years of drifting from place to place, during which she was driven to steal not out of necessity but recklessness, her fraught relationship with Ryoo, and her child (omitted entirely from the film). This portrayal adds a layer of moral ambiguity and emotional complexity to the story. Many symbolic motifs — existence and disappearance, wounds, loss and recovery, salvation and violence — are intricately woven into the book. The film, likewise, is layered with motifs and puzzles. According to the director, even something as simple as a car's license plate hides a code. 'I hope that discovering these subtle details will be a small but rewarding pleasure for the audience and book fans alike," said Min "The Old Woman with the Knife" novel is available in English, translated by Chi-Young Kim, as well as in several other languages in 13 countries. hwangdh@
Forbes
15-05-2025
- Entertainment
- Forbes
The Assassin In ‘The Old Woman With The Knife' May Have Lost Her Edge
Lee Hye-young turns on the vet who bandaged her arm, played by Yeon Woo-jin. It's awful to be abandoned when you are old and sick, says the veterinarian played by Yeon Woo-jin in the film The Old Woman With The Knife. He's talking about the stray dog brought to him by Hornclaw, the legendary assassin played by Lee Hye-young. Hornclaw does not usually let herself get emotionally attached, yet his words prompt her to bring the dog home. Emotional attachments are a liability for an assassin. Known as the Godmother, she works with an agency that describes itself as exterminators. They kill people they consider vermin, fulfilling client requests that often ask for the most grisly and punishing deaths. Hornclaw has been an assassin for most of her life, but now that she's in her 60s she worries about losing some of her edge. She's still killing people, she's still lethal, but health issues have made her vulnerable and some might argue less effective. Her enemies have no problem telling her how useless she is now that she's old. Those comments are likely to get them killed. Pagwa, played by Kim Kang-woo (The Tyrant) runs the pest control organization she works for and he's ready for a change—maybe less killing for noble reasons and more killing for profit—but that would mean getting rid of the principled Hornclaw. He hires a young thug, named Too-woo, played by Kim Sung-cheol, who really enjoys killing with or without justification. Too-woo shadows Hornclaw, supposedly to help her, but he has his own reasons to get rid of her. Kim Sung-cheol plays a thug assigned to shadow an assassin in 'The Old Woman With The Knife.' The vet who helped Hornclaw's stray dog is a nice guy, much too nice to become involved with assassins, but that's just what happens when he helps Hornclaw. The cool-headed assassin, who has successfully avoided emotional attachments, suddenly finds herself adopting a dog and a family she wants to protect. The female-centered action thriller, which premiered at the 75th Berlin International Film Festival, explores issues of aging, control and the cost of violence. Lee 's raw portrayal of Hornclaw makes it easy for viewers to feel her scars. Even when the character seems calm, there's an undercurrent of fear, a wariness that makes her a great assassin. Lee has a long history of memorable roles, appearing in dramas from Boys Over Flowers to Bitter Sweet and in films such as In Front Of Your Face, which was a Cannes Official Selection, and The Novelist's Film, which won the Silver Bear Grand Jury Prize at Berlinale 2022). Kim Sung-cheol, who plays a loathsome villain in this blood-splattered film, recently appeared in Death's Game, Hellbound 2 and Sweet Home 3, while Yeon Woo-jin can be see in the dramas A Virtuous Business, Daily Dose of Sunshine and Thirty-Nine. The Old Woman With The Knife is based on the novel Pagwa by Gu Byeong-mo, author of Apartment Women, a New York Times' Editors Choice. The novel was adapted for the screen and directed by Min Kyu-dong. Distributed by Well Go USA, the film was released in South Korea on April 30 and opens in U.S. theaters on May 16,
Korea Herald
14-05-2025
- Entertainment
- Korea Herald
'The Old Woman With the Knife' confirms North American theater locations ahead of Friday release
Action film starring Lee Hye-young set for limited North American run Theater locations across the United States and Canada for Korean action thriller "The Old Woman With the Knife" have been confirmed ahead of its Friday release, public relations firm Blade Vista announced Wednesday. The film will open across downtown and suburban venues throughout major metro areas, including CGV Los Angeles in LA's Koreatown, AMC River East 21 in downtown Chicago, AMC Raceway in Long Island's Westbury in New York and Cinemark Legacy in Plano, Texas, part of the Dallas-Fort Worth metroplex. Additional screening locations cover the Greater Houston area, San Francisco Bay Area, Atlanta suburbs, Las Vegas and the Seattle region. Canadian audiences can catch the film in select venues across Toronto, Vancouver, British Columbia, and Montreal, as the thriller expands its reach throughout North America for its limited run. Additional theaters may join the lineup in the coming weeks, Blade Vista noted. Well Go USA Entertainment, a key distributor of Asian cinema in North America, is handling distribution for the film. The Texas-based company has previously introduced a number of Korean titles to US audiences, including this year's "Dark Nuns" and "Yadang: The Snitch." Directed by Min Kyu-dong and starring veteran female actor Lee Hye-young, the film centers on Hornclaw, an aging assassin who crosses paths with a reckless young assassin named Bullfight, played by Kim Sung-cheol. Complications arise when Hornclaw finds herself marked for elimination and drawn into a deadly game of survival and retribution. The 125-minute character-driven fare gained traction on the festival circuit earlier this year. It premiered at the 75th Berlin International Film Festival in February and picked up official selections at the Brussels International Fantastic Film Festival and Beijing International Film Festival in April. Released in South Korea on April 30, the film had drawn 419,612 admissions as of Tuesday, according to the Korean Film Council's latest box office data. It has received a generally positive audience reception, with a rating of 8.05 out of 10 on local search platform Naver and a 93 percent approval rating on multiplex chain CGV's website. Following its North American debut, the film is scheduled for release across Europe, Asia and South America in the coming months, according to Next Entertainment World, the film's Korean production company.
Korea Herald
30-04-2025
- Entertainment
- Korea Herald
Interview: A legend contemplates usefulness
At 62, veteran actor Lee Hye-young slays in her boldest role yet "I'm constantly thinking about uselessness," actor Lee Hye-young says in a cafe in Seoul's Samcheong-dong Monday. Her raspy voice projects an unmistakable charisma that commands attention. It's not exactly a confession that shakes the foundation of her stature -- a 62-year-old veteran actor whose four-decade career spans theater, classic films and TV dramas. But Lee, who has established herself as Korean cinema's symbol of resilient womanhood, now finds herself contemplating obsolescence. And this preoccupation with relevance saturates her latest film, "The Old Woman with the Knife," directed by Min Kyu-dong, which hit theaters today after a surprise run at the Berlin International Film Festival earlier this year. Lee plays a 65-year-old assassin nicknamed Hornclaw, whose deadly precision begins to falter as age catches up with her body. When a mysterious young killer called Bullfight (Kim Sung-cheol) enters her orbit, the film pivots into a high-octane, blood-soaked meditation on aging, revenge and the search for connection. Hornclaw must not only confront her deadly rival who hounds her day and night, but also the open contempt and betrayal of fellow hitmen who increasingly see her presence as a liability. "When I first read the novel, I couldn't picture myself as Hornclaw at all," Lee says. "She seemed too much like an old woman. I kept wondering why fans of the book wanted me for the role." That initial hesitation gave way to curiosity about the character's inner resources. "What made me finally say yes was wanting to understand her mysterious power. How does someone with a fading body still command such fear and respect? That question felt worth exploring." The film premiered at the Berlinale in February, where it received rave reviews. The experience has left Lee both buoyed and nervous. "Getting such positive feedback in Berlin was incredible -- I came home feeling unstoppable. But now that we're close to opening, I'm incredibly nervous." Min's adaptation transposes Gu Byeong-mo's best-selling novel into a stylish action-thriller punctuated by extravagant brutality. The film's fight sequences showcase Lee in remarkably physical performances, a challenge that took its toll. "I literally put my body on the line," Lee recalls. "On the first day of shooting, I cracked a rib against a sink during a fight scene. We kept going, and by the end, I'd broken three ribs total. Every day after filming, straight to the hospital." Equally demanding was Min's uncompromising approach. "Min has this iron-clad vision. He works from precise storyboards and rarely deviates," Lee says. "I'm used to a more intuitive approach, feeling my way through performances. Having to fit into such a controlled template opened up a whole new world." The film's visual aesthetic matches the director's precision -- crisp cinematography capturing both the blood-spattered violence and the sleek flashbacks that connect plot points. Lee's performance grounds the fantastical elements with a weathered dignity that makes Hornclaw's lethal capabilities credible, despite occasional seams showing in the stunt work. It is only in the final 30 minutes that the film jumps the rails, where the narrative strains to accommodate an increasingly convoluted, and brazenly sentimental, backstory. At the end of the day, Lee's steely-eyed commitment is the glue that keeps it from falling apart entirely. While critics have celebrated the film as a kind of feminist breakthrough -- an older woman stepping into territory usually reserved for men -- Lee seems decidedly uninterested in such framing. "I hadn't thought about the gender aspect. I just see Hornclaw as a human being with a particular history and set of skills," she says. Lee does credit her longevity in the industry partly to her refusal to be limited by conventional feminine roles, though. "I was never suitable for romantic leads," she says. "In the past, actresses who didn't fit the mold for love stories got pushed aside. But I survived because I could portray these strong, independent women. Now the industry has expanded to include so many different types of female roles." Her praise for co-star Kim Sung-cheol comes with a characteristic flirtatiousness. "Any appeal Hornclaw has as a character -- any hint of sensuality in our scenes together -- is entirely thanks to Kim's talent," she says, visibly animated. "He has this youthful earnestness that's irresistible. I was blessed to have such a beautiful boy as my scene partner," she laughs. Next month, Lee returns to the stage in Ibsen's "Hedda Gabler," reprising a role that won her critical acclaim in 2012. For Lee, the project represents a full-circle moment in her evolution as an artist. "Theater is where everything feels most alive for me," she says. "In film, everything is chopped up into fragments, but on stage, you experience the whole journey each night." As the conversation winds down, the actor's thoughts circle back once more to the idea of utility. After decades in the industry, what keeps her going? What allows her to remain relevant when so many of her contemporaries have receded from view? Lee considers the question carefully, her gaze drifting momentarily. "When I first performed Hedda Gabler, I thought it was exclusively mine. I was so certain of my unique connection to the character. Then, when I heard another actress would be performing it simultaneously, I was shocked -- 'What happened to my uniqueness?'" "Later I discovered many other actors had already performed it after me, but I'd never bothered to check. I was only thinking about Ibsen and myself, completely uninterested in what others were doing." Then she exclaims, almost bemused by her own insight: "I think it's my ignorance! I'm still so unaware of many things, still curious. Maybe that's what keeps me going forward." Ignorance, not quite; one-of-a-kind flair, truly.
