But the Analects, an ancient text composed of ideas and sayings directly attributed to Confucius, espouses the transformative power of virtue. Nonetheless, Parasite is generally gripping and finely crafted, standing up well as Bong’s most mature state-of-the-nation statement since Memories of Murder in 2003. It emphasizes loyalty, sacrificing one’s own goals and satisfaction in order to maintain traditional hierarchies and the status quo: A citizen is faithful to his country, the son to the father, the wife to her husband, the younger brother to his older brother. As the movie races toward a suspenseful and terrifying conclusion, it leaves little doubt as to whether the haves or the have-nots represent the greater scourge in a capitalist society.Bong has always been deft at synthesizing thrills and politics. In more contemporary times, the philosophy has re-emerged as a political ideology: In 2013, But why is cinema, in particular, such a powerful tool for telling stories of rage and revenge?
The dad is Ki-taek (a lovely performance from veteran player Song Kang-ho), a laidback loafer married to former track star Chung-sook (Chang Hyae-jin). And the Kim Family, rich in … Critics Pick Film Review: ‘Parasite’ Korean auteur Bong Joon-ho is on excoriating form in his exceptional pitch-black tragicomedy about social inequality in modern Korea. In a Confucian society, where there is no distinct sense of heaven or hell, where a deity will not necessarily punish you for your sins and where citizens must ultimately manage one another, these movies suggest a different course of action. But the Parks are also, in a way, leeches, using the hired help to fill the nurturing and emotional roles that they can’t — or won’t. By contrast, in American horrors and thrillers, a woman who has been sexualized onscreen is usually the first to die.THE REVENGE NARRATIVE of East Asian cinema is often rooted in the breaking of tradition. After being formally adopted as a political ideology during the Han dynasty (from 206 B.C. It’s a zero-sum game.The problem, the film argues, is that we accept these things as normal. Nothing should be coerced, nothing forced. More than this, it is about the suppressed horror of the overclass for its underlings and its morbid distaste for the smell of people who have to use public transport. We see the cracks in their perfect-family facade: The actress Cho Yeo-jeong gives an especially nuanced performance as Mrs. Park, who, for all her breezy entitlement, lives in the shadow of her cold, unfeeling husband.The Kims, by contrast, are a model of intimacy and fairness: When money and space are this tight, everyone has to pull their weight. If Western films depict vigilantism as romantic, East Asian films embrace the idea that the individual is sometimes the best person to answer to his wrongs. Meet the Park Family: the picture of aspirational wealth. Which is why we cheer for our doomed protagonists even when we know that tragedy is inevitable. Near the end of Chan-wook’s 2005 “Lady Vengeance,” a young woman named Lee Geum-ja, who has been wrongfully imprisoned for 13 years for the death of a 5-year-old boy, finally has the man actually responsible for the crime tied up before her. Certainly the Kims are parasitic when they overtake the Park household: Dad acts as chauffeur; sister becomes the art tutor for the hyperactive son; and the mother displaces the longtime housekeeper. The satirical reflex extends to a vision of South and North Korea living together in paranoid, resentful intimacy, and its climax is precipitated by an almost Biblical climate-emergency catastrophe.The parasites in question are a dodgy unemployed family living together in a scuzzy, stinky basement flat, with the teenage son and daughter periodically roaming around, holding their smartphones up to the ceiling to pinch the non-password-protected wifi of neighbours and nearby businesses. A whole family of cuckoos in a brand new nest, pretending to be strangers to each other. Sex, incidentally, is rarely a focal point, but when it is, it is in service of character development or humor — “Buy me drugs,” Mrs. Park coos to her husband in “Parasite” in the middle of the act, in a scene that is as bizarre as it is pathetic. The Park family love to play Handel on the music system in their lovely home – the Spietati, io vi giurai aria from his opera Rodelinde. Bong draws us into a wicked sense of complicity with the Kims, who, for all their duplicity, are never hard to root for.
Martial arts films of the ’60s and ’70s required little in the way of dialogue — the plot was advanced by a well-choreographed fight.
Or purchase a subscription for unlimited access to real news you can count on. It’s the perfect construction for Bong to tear apart, brick by brick.Gradually, Ki-woo replaces the Park family’s household staff, job by job, with members of his own family, most notably his father, Ki-taek (expertly played by the filmmaker’s longtime muse Song Kang-ho), who epitomizes a working class schlub. Parasite, Bong Joon-ho’s latest masterpiece and the best film I’ve seen so far this year, is about two families of four at opposite ends of the economic spectrum, and how the one on the lower end systematically takes over the lives of the other. All rights reserved. Violence is not necessarily immoral, if done for the right reasons. It’s not that the Parks are that unlikable; they are easy marks because they are so insulated by their wealth and privilege in society that they simply couldn’t know any better.There’s a deliberate ambiguity in the title. We see how gullible and vulnerable they are behind their bolted doors and high-tech security system. © 2020 Guardian News & Media Limited or its affiliated companies.
Kim Ki-woo (Choi Woo-sik) and his family live on the edge of poverty.
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