“Parasite” stimulates the audience’s mind.
Bong Joon-ho has come back to Cannes with a sumptuously watchable and mocking tension dramatization. It runs as purringly smooth as the Mercedes driven by the lead character, played by Korean star Song Kang-ho. Parasite is a peculiar dark comedy about economic wellbeing, desire, realism and the male centric nuclear family, and individuals who acknowledge having (or renting) a hireling class.
This truly is an awfully captivating film, splendidly composed, eminently structured, with a perfectly cast actors and actresses set to work in a carefully plotted nightmare. It truly played with the audiences’ emotions and mind as the story went on through ups and downs.
The story started showing Song Kang-ho plays Ki-taek, an indolent, jobless man who lives in a chaotic, stinky and dirty basement with his significant other, Chung-sook, his brilliant yet uncanny daughter, Ki-jung (Park So-dam), and son, Ki-Woo (Choi Woo-sik). They portrayed what low class family experiences in other to live—connecting to the neighbor’s wifi, having people pissed on the wall in front of their window, and letting the window open for ‘free’ insecticide.
Living the life of having no cash and work, a former school friend of Ki-Woo offered Ki-Woo a lucrative tutoring job. Talk about luck! With a fake college diploma created by Ki-jung, he shows up at the fabulously lavish home of the Park family, wealthy entrepreneur Mr Park (Lee Sun-kyun), his delicate, unworldly wife, Yeon-kyo (Cho Yeo-jeong), their teen daughter, Da-hye (Jung Ziso) and her wacky kid brother, Da-song (Jung Hyeon-jun). They have a loyal, live-in housekeeper named Moon-gwang (Jeong-eun Lee).
Without much trouble, Ki-Woo got the job, and an admirer, Da-Hye, whom he would be teaching. Yeon-kyo, reveals that she also needs an art tutor for her young son, to mold his painting talents. This where things get thrilling as Ki-Woo recommended his sister, Ki-Jung, with the alter ego of Jessica. In short order, Ki-jung frames the Park chauffeur to get him fired, after which Ki-woo suggests their father, Ki-taek (Song Kang-ho), as a replacement, though he doesn’t identify him as such; and soon they hoodwink the Parks into abandoning their longtime housekeeper and hiring their mother, Chung-sook (Jang Hye-jin), though she’s not identified as such.
When the Parks go on a camping trip, the Kims move in and savor the luxury and peace. They think they’re a natural fit. They imagined how it feels like to have all the champagne and cool breeze of the aircon; how it feels like to have Da-Hye as their in-law, as the relationship of Ki-Woo and Da-Hye was getting deeper. Everything was going fine, during the first half of the film. It definitely seems like the Kims manipulation were going easy.
But Bong could never just settle for that, all those fun and excitement of the Kims vanished into thin air as it started to rain and surprisingly, the Parks went home instead. You could never call Bong subtle. After a symbolic rain causes the symbolic sewers to overflow and symbolically flood the Kims’ symbolic basement apartment, Kim Sr. is forced to perform at the Parks’ fancy house party in a symbolic Native American headdress. The climax, though surprising in its splatter quotient, is telegraphed.
The calm of each family instantly transformed into a horrific, gore, and dreadful party for the Parks’ youngest child, Da-Song. Each character portrayed their roles perfectly, which lies to the question, “Who is the real parasite?” The poor who connect themselves to the rich or the wealthy who suck the marrow of poor people? Or simply the framework the parasite itself, drawing its vitality from the violent communication among rich and poor?
From the cinematography, acting, and plot, Bong Joo-Ho’s Parasite is something you must consider if you are into drama movies. Its guaranteed that this movie will open your mind to the harsh reality of the poor and rich. Other than this, there are no excuses for watching the movie.
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