Parasite (Gisaengchung)


Who is the exploited and who is the exploiter?

(2019) Dramedy (NEON) Kang-ho Song, Yeo-jeong Jo, So-dam Park, Woo-sik Choi, Sun-kyun Lee, Seo-joon Park, Jung Ziso, Jeong-eun Lee, Andreas Fronk, Hyae Jin Chang, Myeong-hoon Park, Hyun-jun Jung, Ji-hye Lee, Keun-rok Park, Joo-hyung Lee, Ik-han Jung, Jeong Esuz, Dong-yong Lee, Seong-Bong Ahn, Hyo-shin Pak, Kang Echae. Directed by Bong Joon Ho

 

As the gap between the rich and the poor grows wider worldwide, the desperation of those on the lower end of the economic spectrum also grows. As capitalism turns into a modern-day Wild West, it doesn’t stretch the imagination much to figure out that some will do whatever is necessary to survive.

The Kim family is the kind of family that often takes the brunt of those pointing the finger at the poor and blaming them for their own poverty. Patriarch Ki-woo (Choi) is chronically unemployed and a bit of an idiot. His shrill wife Chung-sook (Chang) has the family bringing in income by folding pizza boxes but they can’t even get that right. They live in a basement flat with a toilet on a ledge looking out onto the street where drunks often urinate. Ki-woo, despite the haranguing of his wife, can’t be bothered to shoo the offenders away. Their phone service has long been switched off and they steal Wi-Fi from a neighbor who has inconveniently put password protection on his router.

Clever son Ki-taek (Song) gets a tip from his buddy Min (S-j Park) who is about to depart to study abroad that a rich high school girl he is tutoring in English will need a new tutor while he is gone. Min offers to recommend Ki-taek for the job but Ki-taek, who was unable to afford college, doesn’t have the credentials for the job. Not to worry: his sister Ki-jung (S-d Park) has no problem forging the documents he needs.

When Ki-taek goes to the beautiful modernist house the family lives in for an interview, he realizes the materialistic mom Yeon-kyo Park (Jo) is somewhat simple and easily swayed. He realizes that there could be a bonanza here for his family. He finagles his sister an interview as a teacher for the ADHD younger son Da-song (H-j Jung) specializing in “art therapy.” In the meantime his own student daughter Da-hye (Ziso) has taken a shine to him.

Cold-blooded Ki-jung realizes there’s room for the whole family, but it will take some finagling to get the established servants out, including their beloved housekeeper Moon-gwang (J-e Lee). Through clever manipulation, brazen gall and a thorough lack of mercy, Dad is moved into the driver’s position and Mom into the housekeeper’s job. Now the Kim family is living the high life and can think about maybe moving on up, as George Jefferson might say. However, the Park home holds an unexpected secret that throws all of their machinations into disarray.

Bong Joon Ho is already one of South Korea’s most masterful directors, with films like The Host, Snowpiercer and Okja to his credit. Here, he comes into his own with the kind of movie that is going to elevate him into an elite class of directors, guys like Del Toro, Cuarón and Wong Kar-Wei. This is one of the best-written movies I’ve seen this year, with clever dialogue and a plot that while it has some zany elements to it never falls out of believability.

The cast performs solidly, particularly Ho’s go-to guy Choi who takes a character who could have easily have become a caricature and gave him depth and even a bit of gravitas. Jo is also memorable as the somewhat dense mom of the Park family.

The movie changes tone in the second half and there’s some fairly intense violence that occurs, some of it quite disturbing. It isn’t a movie for the weak of heart but neither is it a movie for the weak of mind; there is an awful lot of subtext going on about class distinctions, and exploitation. Just who is exploiting who in this movie may not be terribly clear by the end of the credits. However, I must say that the only thing that is keeping this from a perfect score is a somewhat convoluted ending involving a coded message that overstays its welcome a bit.

Frankly, this is one of the best movies of the year and it certainly should be on the radar of anyone who really likes movies. There’s a scene on how a bad thunderstorm affects the wealthy Parks and the not-so-wealthy Kims that is a gut-punch that comes almost out of nowhere but Ho is such a deft director that it doesn’t feel out of place. Do yourself a favor and catch this one because it’s sure to get some love come awards season.

REASONS TO SEE: Very cleverly written. Well-acted. Some very dark humor but funny throughout. An intriguing look at class warfare from a different angle.
REASONS TO AVOID: The ending is a little bit convoluted.
FAMILY VALUES: There is some profanity, some bloody violence and some sexuality.
TRIVIAL PURSUIT: The film was the winner of the prestigious Palme d’Or award at this year’s Cannes Film Festival; it is also South Korea’s official submission for the Best International Film award at the 2020 Oscars and is an early favorite to make the short list.
CRITICAL MASS: As of 10/28/19: Rotten Tomatoes: 99% positive reviews: Metacritic: 95/100.
COMPARISON SHOPPING: Shoplifters
FINAL RATING: 9.5/10
NEXT:
Day 3 of Six Days of Darkness

A Single Man


A Single Man

Elegance, sophistication and despair, 60s-style.

(2009) Drama (Weinstein) Colin Firth, Julianne Moore, Ginnifer Goodwin, Matthew Goode, Nicholas Hoult, Jon Kortajarena, Ryan Simpkins, Teddy Sears, Paulette Lamon, Aaron Sanders, Paul Butler, Lee Pace, Adam Shapiro, Jon Hamm (voice). Directed by Tom Ford

We live our lives out for the most part in isolation. It is a horrible fate that we strive to avoid and when we find someone to share our lives with, we feel a certain amount of relief, as if we have finally received our membership card for the human race. However, when that is taken away from us, our careful façade can show cracks as despair and grief set our very souls to crumbling.

That’s where George Falconer (Firth) is. He receives news that his partner of 16 years, Jim (Goode) has perished in a car accident. This being 1962, George’s relationship with Jim is barely acknowledged and when George makes inquiries about the memorial service, he’s told in no uncertain terms that his presence is not welcome. Very civilly, he thanks the caller (Hamm) for the information, hangs up the phone and stares into the abyss.

Eight months later, the grief has far from subsided; it has multiplied, feeding on itself and growing exponentially until George can no longer stand it. He wakes up in pain every morning, and confides that for the first time in his life, he cannot see a future. Without a future, with an intolerable present, George makes plans to end his own life. He meticulously arranges his study so all the important papers will be easily found, and goes about the business of his last day on Earth.

In it, he will lecture his class at a Los Angeles-area college on the works of Aldous Huxley and set up a philosophical discussion about invisible minorities. He will attend a dinner with his old friend and ex-lover Charley (Moore), who yearns for one last go at a man she knows is lost to her, but she herself is lost so that has little meaning. He flirts with a Spanish hustler (Kortajarena) and with a kindly student (Hoult) but in the end he knows there’s a gun waiting for him in his bedside table.

This is the first directing effort by fashion designer Ford, who is credited from rescuing Gucci from bankruptcy and turning it into a billion-dollar brand name. As you would expect from someone with that kind of eye, extreme attention is paid to art direction, the meticulous detail of recreating 1962 is done with great authentic detail from the brand names to the attitudes. The Cuban Missile Crisis is in the background but never  becomes the centerpiece; it is a topic of conversation and colors the film a bit without being the focus. Ford also takes some artistic cues from famed Chinese director Wong Kar-Wei, using colors as emotional triggers in the film.

However, as impressive as Ford is, it is Firth who steals the show here. He was Oscar nominated for his performance here (which he didn’t win but it set the stage for his win earlier this year for The King’s Speech) and it was richly deserved. Firth has made a name for himself for playing uptight British sorts, and so he is here, so tightly wound that it seems at times that one pinprick in the right place will let loose a barrage of screams.

His scene in which he is notified of Jim’s death is reason alone to see the movie; he’s just talking on the telephone, sitting down but you look at his eyes, his demeanor, his body language – while he looks composed, you can see him disintegrating inside. There’s no tears, no dramatic gestures, just the quiet despair of a man who in the space of a few moments has lost everything that has any meaning to him.

Firth shuffles through the film with a grey, lifeless pallor which only heats up in certain instances. One of them is with Charley, the divorcee who in many ways is as lost and desperate as George is. Moore gives her life, not only reading the lines with the caustic cattiness that was perfect for the period and the character but also showing the vulnerability she is careful to keep away from the surface, but so intense is it that it appears without warning and despite her best efforts. Moore was nominated for a Best Supporting Dramatic Actress Golden Globe; she didn’t get an Oscar nomination but I doubt anyone would have complained had she received one.

The Christopher Isherwood novel this is based on is considered a touchstone of gay English language literature and it is indeed ambitious that Ford, who is also gay, would take it on as his first filmed project but in many ways this is a movie that needed to be made and having someone with the visual eye that Ford has made him the right choice for the role, despite his limited experience as a director.

There are those who have skipped this movie because of its gay themes, and to those folks let me say this; you may be uncomfortable with the expression of same-sex love and there is certainly a good deal of that here, but I never found it uncomfortable or intrusive. This is more accurately a portrayal of grief, of a limited ability to express that grief both publically and privately, and the character study of a man deeply wounded but who in the end finds a certain measure of peace. It’s a very good movie and gay or straight, you should make an effort to see it.

WHY RENT THIS: An amazing looking film perfectly capturing the period. Firth does an amazing job in the role of George.

WHY RENT SOMETHING ELSE: It’s a very slow-moving film.

FAMILY VALUES: There is a good deal of sexual content, as well as some fairly disturbing images. There’s also a little bit of nudity.

TRIVIAL PURSUIT: Firth nearly turned the role down and had composed an e-mail to Ford sending his regrets. He was about to send it when he was interrupted by a repairman who was there to fix his refrigerator. While the fridge was being repaired, Firth reconsidered and never sent the e-mail. Firth thanked the “fridge guy” when accepting his BAFTA award for Best Actor for the part.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $24.9M on a $7M production budget; the movie was a hit.

FINAL RATING: 8.5/10

TOMORROW: Thor