Nicknamed Madame Jet because she moves as speedily as a jet, she is sort of loan shark, a money lender who collects daily installments. After starting in the loaning game because of her husband’s lowly employee salary, she ignores a close friend’s difficulties and is a ‘hard’ woman who does not hesitate to leap into a couple\'s bedroom in order to get her payments.
Madame Jet follows the pattern of the reversal of traditional patriarchal gender roles and the ‘strong woman and weak man’ couples that appear as the main subjects of the comedy genre after modernization and capitalization brought about women’s participation in society. Their contribution to the household profits and the expansion of their right to speak out that goes along with it. Notably, Do Keum-Bong, the representative icon of the ‘Ttosooni(hard-working woman)’ that had just begun to emerge at the time, plays the lead role in Madame Jet. If, in the film Ttosooni, the Ttosooni helps to maintain the patriarchal order in the end with her stout-hearted hard work and prudent, thrifty housekeeping, Madame Jet is ‘the flower of capitalist evil’and a dangerous Ttosooni that mocks patriarchal order. In the end, however, according to the rules of the genre and patriarchal ideology, she goes back to the home, to being a wife, to being a mother, and to a poorly paid household budget. (Kwon Eun-Sun)
Lee Kyu-WungLee Kyu-Wung
Born in 1927 in Seoul, Lee Kyu-Wung made his feature directorial debut with Don’t Touch Me in 1961. He directed numerous period pieces such as Danjong Aesa(1963), Amhaeng-oesa (1967), Little Bridegroom(1970), and Lee Sun-Shin, the Great General(1971).