The DVD cover of this film features a nun and behind her is a woman who appears to be in the process of having her clothes taken off. The marketing for the film is a ‘come on’ suggesting something kinky: nuns and sex. Unless I missed something, the nun doesn’t feature in this Kim Ki-duk film but it does deal with teenage prostitution; which some may find kinky. It’s easy to see why feminists woman the barricades against Kim’s films, his female characters are regularly prostitutes, however Chang Hye-seung, in her The Films of Kim Ki-duk, is a convincing advocate who argues against Kim’s misogyny.
In keeping with Kim’s ‘extreme’ reputation, the ‘samaritan girl’ is a teenage prostitute; her age isn’t given but she looks around 14 or 15. Jae-yeong is raising money for a trip to Europe, with her friend Yeo-jin, who is reluctantly Jae-yeong’s pimp. A typically disturbing set up then but, despite the subject matter, Kim eschews exploitative imagery and uses the narrative to investigate ‘coming of age’. True, it’s a ‘coming of age’ unlikely to be experienced by many but Kim is more interested in the psychodrama than realism.
Spoilers ahead. Jae-yeong dies, after jumping from a motel window to avoid the police; disturbingly she seems to be smiling when she does this. In memory of her friend Yeo-jin then has sex with her friend’s clients, returning the money they paid. The film’s in three parts: (1) ‘Vasumitra’, named after a prostitute in ancient times whose clients were converted to Buddhism, something Jae-yeong is trying to emulate; (2) ‘Samaria’, when Yeo-jin pays the money back and succeeds, at least in part, in getting the men to think about their actions in having sex with a minor; (3) ‘Sonata’ where Yeo-jin’s dad, a police officer who discovers what’s she’s doing, takes her on a journey into the countryside (and the past) – the ‘Sonata’ refers to the car.
The journey into the countryside, where her dad’s motivations are uncertain, is one into tradition. They stay one night in basic accommodation as the guest of a stranger, clearly setting up this space as positive against Seoul’s city life which, presumably, inspired Jae-yeong’s behaviour. Her dad spent the second part of the film trying to prevent Yeo-jin’s clients getting to her; despite his obvious affection for his daughter (his wife is dead) he clearly cannot bring himself to discuss what she is doing. In a brilliant scene, he confronts one of his daughter’s clients whilst he is having a family meal. When confronted, in such a context, with the fact he had sex with a minor he does, what some might consider, the honourable thing from several floors up. This is superbly staged with the violence happening just offscreen; no as not Asia extreme.
Chang discusses the final section as dramatising female rebirth, as her father sets her free of patriarchy, outside the ‘phallocentric’ symbolic order’. I must confess this is not how I understood it when watching the film, however the reading is convincing and demonstrates that Kim’s feminist detractors are misreading his films. However, I think they can be forgiven for doing so as Samaritan Girl is obscure.
Kim isn’t the only filmmaker to be criticised for his use of prostitutes in his film. Godard’s work often did the same and it is difficult to argue against the idea that the character is often used in a misogynist fashion: it defines women through sex and offers dramatically motivated opportunities for female nudity. This obsession, by both men and women (see here), of defining females by their bodies is central to western civilisation and is debilitating, in terms of our social relations, for both sexes. Recently, in the UK, there was a Facebook trend of friends daring one another to post a picture of themselves without make-up. It was striking how great the women looked without it.