Parasite (dir. by Bong Joon Ho) had me far closer to the edge of my seat than I would have imagined. It’s not billed as a thriller, necessarily, but I guess that the borders between classes are fraught with this if played right…
- These types of films are often used to highlight the inherent virtue of being able to obtain lots of money – Taxi Driver and Cape Fear are ancient examples that come to mind immediately, with the lower class guy who can’t get rich by legitimate means (define legitimate how you will). If you are a member of the one percent in this configuration, it’s because you deserve it.
- The rich family in this film – the Parks – are not evil, and they earn their money legitimately I would guess, but they are also somehow (perhaps if I understood South Korea better I would know how) to lots of money, while the Kims have a son and daughter who are college and art-school educated but who cannot find jobs, much like their parents.
- My guess is that this film condemns the crazy economic system that exists in South Korea – at one point the dad, Kim Ki-tek, says that 500 people with college degrees apply for jobs as drivers, like the one he used to have. I have no idea how accurate that is, as according to at least this site unemployment there is around 3.5 percent, but perhaps that rate hides a gig economy with insecure employment.
- The interaction between the Parks and the Kims is always fraught with danger. The Kims take full advantage of their scam and get all family members ensconced in the house, only to see things go horribly wrong.
- As a viewer, I get nervous for the Kims as I watch them flout class conventions. At one point while the Parks are camping they take over the house, drinking the good booze, eating their food, enjoying the view, only to have the night come crashing down on them when the Parks return early.
- The Parks will be able to bring the institutional power of the state on the Kims, and the narrative that will result will reify the power of wealth.
- The other theme is the blindness of the Parks, a blindness derived from their class advantages. Mr. and Mrs. Park have sex while their staff (having been busted in the house, and now hiding) lie silently under the huge coffee table, waiting for their chance to escape. Mr. Park talks about how Mr. Kim, his driver, gets too comfortable at times, and how he smells bad, all while the Kims are lying there trying not to breathe loudly.
- We know that the Parks do not have to live by their wits in the same way, as they are able to simply be blind. The film is not that simple – we see through the eyes of Kim the chaos that is Park’s workplace, and he seems stressed even if he is sort of bland – but the Parks have a lot more margin for error, and we know that the full powers of the state will be brought to bear against the Kims for their transgressions.
- The blindness even goes to the news media – we see multiple reports trying to explain what happened, and all of the official outlets say they are baffled as to what could have gone wrong.
- We have seen otherwise…
- The final scenes, in which all the Kims are driven once again underground, make the class delineations visceral. These distinctions make the film a powerful one, and I’d happily watch it again…