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The Evil Twin, Kim Ji Hwan's feature film directorial debut, is the first of the wave of Korean horror movies from the summer of 2007 to be released on DVD. Thankfully, the movie does offer something at least a little different in the form of a historical setting for those fans who have understandably grown somewhat disenchanted with the genre recently and tired of directors' reluctance to stray from the confines of the done to death "teens menaced by vengeful female ghost" formula. Instead of taking place in an all-girls school or a haunted apartment building, the action occurs in a rural town during the Joseon era of Korean history.
In terms of what to expect conceptually, this movie is more of a costume drama set in a former Joseun period of Korea that might be compared to similarly themed movies from Japan like "Shikoku" and "Inugami." Not in the narrative, but in the settings, attire, and customs surrounding ancient mythology that include elements of the supernatural It has been suggested that a ghost tale in a historically accurate Korean film that draws on the nation's past traditions would be a terrific concept (and it most certainly is), and this film, "The Ghost in the Machine," is just that.
That point is amply made by history. Here, the historical clothing and customary household tasks that would have been carried out in a royal home are beautifully displayed. To counteract the idea of moving away from that formula and using Korean traditional type motifs for a newer form of horror, this movie (again) employs the "Sadako" ghost cliche of the white gowned girl with long black hair doing her "ringu" thang in a bath, in the woods, and in barns to terrorise the various local victims. Sadako..she just won't take that vacation for her skin and hair, will she? Or is she visiting during the Joseun era for a vacation?
The Evil Twin, directed by Kim Ji Hwan, was the first horror movie to be released in South Korea in 2007. Summer is the season for horror movies there. This Joseon era chiller, an uncommon introduction into the historical horror genre, delivers a terrifying rendition of the traditional Cinderella tale of Kongji and Patzzi. Park Shin Hye, a teenage television star from Palace S and Trees in Heaven who is one of Korea's most promising young actors and actresses, stars in her first main role. She expertly catches the polar characteristics of her two characters, convincingly portraying both the good and the wicked. Yang Geum Suk and Jae Hee (3-iron) both appear in the movie.
Ten years ago, Hyo Jin (Park Shin Hye), one of the twin sisters, died after falling into a river, leaving So Yeon unconscious. So Yeon awakens at last ten years later. Despite having lost her memories, she is bothered by what she can't recall and frequently exhibits traits that are comparable to those of her deceased sister. As she heals, memories of the accident's circumstances and the sisters' resentful competition for So Yeon's future husband Hyun Sik (Jae Hee) slowly come back, while the community is plagued by a string of unsolved murders.
However, by employing the Girl in White once more, it emphasises how this is yet another vindictive spirit of a deceived girl—this time, the ghost of one of two twins. The concept is that the ghost was once a good girl since the ghost is of a girl from a prestigious royal household who was engaged to be married before drowning in an accident (apart from the fact that she wants revenge). She is pure and royal. Therefore, a virginal white wedding dress (for marriage) and dark maidenly hair are the ideal representations of purity in a female. So, turning this purity into ugly and dark images is a logical perversion of it.
Then there is the mangy and ragged white robe that serves as a grey cloak of hopelessness, the tangled and straggly hair that represents madness and retaliation, and the twisted and double-jointed body that has undergone several twists to create this classic shadow of evil. So why use a different representation when you have the very worst? There, where the filmmakers appear to be similarly obsessed by her, you'll have to question them. Another terrifying white-robed "Clone from the Ring/King"? In any case, this movie is definitely closer to the historical period of "King and the Clown/Ring and the Clone," to put a spin on that pun.