World cinema is an interesting pursuit, after awhile you start to understand the world in almost unfashionable ways. Indian films are very Indian and Definitely an acquired taste, French films have a particularly piquant taste all their own. The French sense of humour is frequently very twisted and, when you get the wavelength, sometimes exceptionally funny. German films are never funny. Their comedies are worse. The Japanese have made some of the best films ever, and also some of the craziest shit in history. In fact the Japanese probably provide the widest spectrum of cinematic quality of any nation on earth. From Akira Kurosawa’s “Ran” and Nagisa Oshima’s “In the Realm of the Senses”; all the way through to “Godzilla versus Frankenstein” there is something for everyone.
Right next door to Japan, almost within a stone’s throw(her her) is Korea. With a very much smaller Film industry, they have an utterly different outlook on life, and maintain a remarkably high quality standard in their recent output.Mostly.From “The Host” (which is probably the best “giant mutant creature film ever made )through to fascinating independent films like “lies” and the OTT bloodstorm war movie “Brothers in War” their industry stands on the horrendous trauma of the Korean War, which simply cannot be ignored as a major formative influence on the culture, and by extension, their film industry. In this film “parasite” it does not take much effort to see the formative influence of the trauma of war, on their culture and this subtext adds another layer of meaning to an already very interesting film.
Synopsis: A family of subterraneans live off the grid in a semi basement area in a stinking alley. Their windows provide close-up views of drunks pissing and puking in the street The group like like alley rats, eating what they find, stealing what they need; if they have “hope” it is a very short term proposition; since the concept of “having a future depends entirely on the prospect that you will be able to eat both today, and tomorrow.
Against all expectation however the grown son of the group, has managed to get an education, and has, indeed, graduated school with prospects. This is an amusing point at which one can diverge from the actual film itself and wonder athwart the plot line might have been if “parasite” had been made in different countries. The U.S is dead easy. If it had been made their the family would have been black since it is a commonly accepted trope that the only people horribly grindingly poor in the U.S are black. The clean -cut son, probably played by Denzel Washington, would, graduating school attempt to secure gainful employment. Here, apparently for the first time in his life, he would encounter the affront of white racism as an obstacle to his path. He would meet this challenge nobly, perhaps unburdening himself of some rhetoric at some applicable point, and roughly at the same time conflict would enter the plot! Black hoodlums would attempt to bully him into selling drugs for them! Or get shot! This plot section would form the major impetus for the films climax (usually involving tragically gasped last words from a bullet-riddled body cradled in the street by an alternately crying and screaming mother.
You can rest assured “Parasite was not made in the U.S; it was made in South Korea, and the Korean worldview is entirely different to that of the Western world. In fact, to someone brought up on a diet of American Media, the Koreans are downright weird. So “Parasite” trundled along towards its uniquely Korean and very satisfying ending I was left simultaneously aghast, and post cathartically almost shocked at the way I had found the ending uproariously funny. This is a bloody good albeit niche film that has the makings of a cult sleeper hit all over it, if such things exist anymore,
Copyright(C) Alex Rieneck 2019