Dispatches from the Paris Korean Film Festival: The Taste of Money (2012)

With The Taste of Money, Im Sang-soo continues the portrait of South Korea’s ultra rich he started with his 2010 remake of The Housemaid. Designed like a spiritual successor to his previous film (one line of dialogue actually connects them more clearly), The Taste of Money follows the Yoons, a wealthy family controlling one of South Korea’s biggest conglomerates. The company, like the family, is ruled by Geum-ok (Yoon Yeo-jeong), the matriarch whose father—a paralyzed, wheezing man wheeled around by his personal assistant—still has a stake in the company; if Geum-ok’s husband (Baek Yoon-sik) is nominally the chairman of the board, his job consists mostly in carrying suitcases full of money to various officials so that they don’t look too closely into the company’s shady dealings.

The film actually opens with such a transaction, as the Yoons bribe a judge so that the corruption charges against their son Chul (On Joo-wan)—the CEO of the company—are dropped. This in turn allows them to resume their dealings with Robert Altman (Darcy Paquet), a corrupt American living in South Korea. Everything seems back under control, until it transpires that Chairman Yoon is having an affair with Eva (Maui Taylor), the family’s Filipino maid.

If that sounds like the synopsis to a soap opera episode, that’s because The Taste of Money, much like The Housemaid, feels a lot like a glossy soap opera to begin with. That’s not the only similarity between the two films, either. Here, like in The Housemaid, Im Sang-soo chooses to focus on an outsider to the family: in his previous film our main character was Eun-yi, the maid who falls for her employer (notice a pattern?), while here it is Joo Young-jak (Kim Kang-woo), a young man who’s worked for the family for close to a decade as a driver and a personal assistant. Like Eun-yi, Young-jak isn’t an entirely innocent character and has ambitions of his own, but he can’t imagine just how corrupt the Yoons, and particularly Geum-ok, really are. The character of Na-mi (Kim Hyo-jin), the Yoons’ divorced daughter, is also a nod to The Housemaid, in which Na-mi was the name of the girl Eun-yi was hired to look after. (Another amusing nod is the casting of Yoon Yeo-jeong, who played the sympathetic older maid in The Housemaid, to play the monstrous Geum-ok here.)

While The Housemaid was a claustrophobic thriller set almost entirely in one house, though, The Taste of Money is a sprawling, often aimless affair. At the center of it all is Young-jak, who is, sadly, a pretty bland protagonist, whose main characteristic is to be extremely good looking. (A hilarious scene has another female employee, with whom he has just had an argument, whimper and run away as he takes his shirt off, revealing his ripped chest.) Young-jak remains a passive observer for most of the movie; instead of holding the film together, this has the effect of making it seem all the more fractured.

It doesn’t help that Im Sang-soo doesn’t seem particularly interested in the business side of his story, which quickly becomes a problem when so many scenes are devoted to Chul and Altman hashing out a vague plan to establish a slush fund, and to the consequences of their actions. The affair between Yoon and Eva is clearly more interesting to the director, and for a while he has fun letting you try to figure out everyone’s motivations. That is, until he decides to have Yoon make a long speech about the whole thing, then another, then another. Yoon loves making speeches, and he’s not alone; every other character seems determined to hit you over the head with his or her own version of the film’s theme: money corrupts, and only love redeems. Nothing groundbreaking, and certainly not something that needs to be made explicit over and over again.

That’s not to say that The Taste of Money is all bad. Much like The Housemaid, it’s often trashy fun. There’s lots of sex, lots of ridiculous secrets and over-the-top twists, a truly evil villain, and if Im Sang-soo can’t quite match the brilliance and insanity of his previous film’s finale, he sure tries. The problem, of course, is that The Taste of Money isn’t much beyond trashy fun, which becomes painfully apparent as soon as the film starts lagging even a little. Or, you know, after Yoon tells you for the third time that money’s not all it’s cracked up to be.

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