Confucianism proposes the idea that people are fundamentally good, that we are capable of improving ourselves through education and self-cultivation. Joseph Losey’s Parasite is also in a Korean tradition of pictures such as Kim Ki-young’s classic thriller The Housemaid from 1960, remade in 2010 by Im Sang-soo, and also Park Chan-wook’s servant-class con-trick drama, And there is something else, too. 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.
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). This discovery throws the Kims’ plans into disarray and, like Chekhov’s gun, the suseok returns, not as a symbol of fortune but as a weapon, setting off an explosion of violence with a Shakespearean-level death toll.If a desire for wealth propels “Parasite,” then class differences are the film’s foundation. Violence is not necessarily immoral, if done for the right reasons. He previously tackled class warfare in his English-language thriller At first you're right there with the Kims, until the story takes the first of many jaw-dropping turns. The American Dream, in other words, isn’t exclusively American.In the second half of the movie Bong twists his knife so deeply into this festering wound of class warfare that you begin to wonder if there can be any heroes in this story at all.
It is so expansive, so airy, caressingly sumptuous and wealthy, and not a million miles from the Care selve arioso from Handel’s Atalanta – listened to by the smug wealthy couple in Michael Haneke’s home-invasion horror The home invaders here gaze on their super-rich employers and see themselves in a distorting mirror that pitilessly reveals to them how wretched they are and shows them what could and should be theirs. With “Parasite,” Bong’s finest work to date, the 50-year-old director clearly articulates a throughline that has been present in all his previous work: there’s no war but the class war.In his latest work, Bong blends a con-man story with a tale of suspense, to uproarious and enlightening effect. But then the artless little kid points out that they all smell alike – and they smell of poor people.Parasite is a movie that taps into a rich cinematic tradition of unreliable servants with an intimate knowledge of their employers, an intimacy that easily, and inevitably, congeals into hostility. Like the family in last year's great Japanese drama One day Ki-woo, a high-school graduate, gets a job as an English tutor for an upper-class teenage girl named Da-hye. 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. After being formally adopted as a political ideology during the Han dynasty (from 206 B.C.
Such is the tale told by the Korean director Bong Joon-ho in his new movie, “Parasite,” which won the Palme d’Or at the Cannes Film Festival this year. Its narrative engine hums with the luxurious smoothness of the Mercedes-Benz that one character is fatefully given the chance to drive. Meet the Park Family: the picture of aspirational wealth. Bong draws us into a wicked sense of complicity with the Kims, who, for all their duplicity, are never hard to root for. 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. The somewhat Soon, these wicked kids have cunningly contrived to get the family chauffeur fired and replaced with their dad.
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?
Maybe that makes them the "parasite" of the title, or maybe not. They’re not interested in showing the hero’s journey that results in both victory and a personal transformation. Review Interpretation of the news based on evidence, ... Song Kang-ho, Jang Hye-jin and Park So-dam) in “Parasite.” (Neon/CJ Entertainment) By … They choose the latter, and the resulting scene is at once violent, cathartic, therapeutic, restorative but also utterly grotesque and horrifying.It’s telling that most of these films, unlike most of Western cinema, rarely incorporate an authority figure such as the police or a judge — if they do appear, it is often as an accessory.
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