PARASITE movie review is here. Originally titled GISAENGCHUNG, the South Korean dark comedy thriller film directed by Bong Joon-ho, is one of the hot favorites in the 92nd Academy Awards with six nominations including Best Picture, Best Director and Best International Feature Film, making it the first South Korean film to be nominated in those categories.
Starring Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, and Park So-dam, PARASITE premiered at the 2019 Cannes Film Festival where it became the first Korean film to win the Palme d’Or. Releasing in India on January 31, 2020 through Impact Films, PARASITE won the 77th Golden Globe Awards in the Best Foreign Language Film category. So what makes PARASITE an exemplary piece of art?!!. Let’s find out in the movie review of PARASITE.
Immediate reaction when the end credits roll
Wow!! This will leave you in awe for long. Bong Joon-ho stuns you with the most uncompromising social satire in world cinema that refuses to stay committed to any genre. PARASITE is a true modern masterpiece that sees the master filmmaker Bong Joon-ho in complete command of his craft.
The Story of PARASITE
Two different worlds collide in Korea. The affluent Park family led by Park Dong-ik (Lee Sun-kyun) with wife Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun). The world of The Parks is well guided, protected, classy and mannered. They are nice because they are rich comments Chung-sook (Chang Hyae-jin) wife of Kim Ki-taek (Song Kang-ho) an underprivileged man who leads a pale routine life with his daughter Kim Ki-jeong (Park So-dam) and son Kim Ki-woo (Choi Woo-shik).
The source of earning for the Kim family is by folding pizza boxes for a pizza delivery joint. A golden opportunity is cashed by the Kims the son Ki-woo, he gets appointed as a tutor and daughter bags the job as an art therapist for the red Indians inspired Park Da-song . The worlds of The Parks and Kims start changing as they encounter Gook Moon-gwang (Lee Jung-eun) the trusted housekeeper and Geun-sae (Park Myung-hoon) – the stunning surprise that shakes you within and keeps poking on the social economical divide, the devastating truth of the world that is getting created after every hour, the death of humanity and birth of insanity amongst people, morality, fear. Love, hate, guilt, dreams, nature and hope. The exceptionally brilliant script by Bong Joon-ho and Han Jin-won observes every human nature with their behavior, their circumstances and makes a sweeping comment that stays forever.
PARASITE movie review
Bong Joon-ho – the renowned name in Korean cinema is one of the strongest power that changed the idiom of Korean cinema giving it a unique identity and respect. Bong Joon – ho’s cinema is a rare amalgamation of social themes blended with an urgent genre mash up that constantly sprinkles black humor, mood shifts and ends with a sudden/shocking/stunning surprise.
Like MEMORIES OF MURDER, MOTHER, OKJA Bong Joon-ho’s world in PARASITE beholds that insightful mastery in its eyes on the subject matter. Here it’s the structure of the society that is creating more difference between the rich and the poor. The haves and have not’s debate/struggle/ pain/suffering is getting expressed since ages and before the legendary Satyajit Ray’s ground breaker PATHER PANCHALI (1955), it was Chetan Anand’s NEECHA NAGAR (1946) a story of struggle between two classes that gain recognition at the Cannes Film Festival, – the only Indian film to be ever awarded a Palme d’Or. Bong Joon-ho’s PARASITE shares the basic seed of idea from these social mirrors from India, Asia or any part of world and its cinema.
Here the class divide is depicted through the stairs of The Park’s household and what is lying upstairs, downstairs. What is hiding beneath? Brilliantly metaphoric like the house of the Parks which is below the ground but by artificial half basement, it want to suggest that the house and its people are above the ground level (the poor). The way the movie juxtaposes the life’s of The Kims and The Parks is laced with constant subtle humor. The Parks are rich by wealth, resources and knowledge that money can but they turn downright poor in judging the smarts of The Kims and get easily conned.
As the audience is engulfed in the magical collision, a sense of fear somewhere is lurking. When The Kims are getting drunk in the living room of The Parks who are out, the so called third dimension – the world between the rich and poor, the grey are erupts and the movie just holds you by your throat and you are happy not to leave, excited and anxious all in one.
The pre climax stuns and the climax makes you stay in awe. It’s a sure shot kill. A perfect cut above, a master class.
Bong Joon-ho’s modern masterpiece has stellar acts by the artiste jointly anchored by Choi Woo-shik and Park So-dam. Solid support comes from Song Kang-ho, Chang Hyae-jin, Lee Sun-kyun. Cho Yeo-jeong, Jeong Ji-so. Jung Hyeon-jun, Park Da-song, Lee Jung-eun and Park Myung-hoon deserve special mention.
Hong Kyung-Pyo’s great elegance in his cinematography and Lee Ha-jun’s fabulous production design adds tremendous value.
PARASITE by the Korean master Bong Joon-ho is undoubtedly an uncompromising modern masterpiece that has made the competition at the 92nd Oscar awards in the best picture extremely cut throat and fierce, no surprise if PARASITE enters into the set mindset influenced by 1917, JOKER and stuns everyone. As far as the best foreign language is concern, it has certainly has that ‘winning’ edge but what is more important is the fact that PARASITE will continue to enter and influence world cinema in future.
You don,t get a piece of art that makes you remain in awe for long, a cinema that begins with a smile then laughs and then releases the hidden rage/resentment and within a snap it allows you to dream and feel the sorrow as well.
Yes there are movies that make the audience go through a plethora of emotions but Bong Joon-ho’s PARASITE is more precise and determined to sneak inside your sync and then refusing to leave.