On paper, A Devilish Homicide (also known as A Bloodthirsty Killer and, in its home country, Salinma) tells what is more or less a boilerplate Asian ghost story. There is the vengeful spirit of a wronged woman—sheathed in white, of course, and with her eerily glaring countenance peeking out from behind a veil of long black hair—who, as the years have taught us to expect, spends the bulk of the movie systematically picking off all of those responsible for her demise. In practice, however, the film is a great example of how an oft-told tale, when told inventively, can take on a vibrant new life.
The Housemaid, made five years earlier. As in other rapidly modernizing Asian societies in the 1960s, the state of the traditional family appears to have been an abiding concern for Koreans at the time.
Woman after a Killer Butterfly, surrendered to the expectation that all of these improbable events would eventually be ascribed to night terrors. However, this was not to be the case.