They live with it.
It is a smell that disgusts the rich. Turning the nose up and away or
rather a recoil from a STINK, finds its own brilliant plot point in a script that
will leave you thinking about class divide with a discomfort that should and
must stay. Korean director, Bong Joon-ho’s “Parasite”, up for six Oscar
nominations, deserves each and every award, starting from the script and set
design.
This story is about South Korea’s poor Kim family –so poor that they let
the outdoor fumigation into their
little, cramped home, to kill pests. They make a clever plan to con a
wealthy Park family, into giving them jobs. So begins a funny and deliberate,
slow setup of how the Kim family work their way into the sprawling Park family
mansion, but pretend to be strangers to each other.
The tale of two families and two homes (and eventually a masterstroke of
a twist which is like the twist of a knife in the poverty wound) would not make
the impact it does, if not for the contemporary and skillful set design. The
film starts with a scene that shows us the interior of lowly built house. The
staging of each sequence , whether, in the Kim household or the Park mansion,
gives us a contrasting glimpse of how each family lives.
Contrast is as ugly as it is beautiful. Contrast of the class structure
a deadly theme that is mercilessly pounded upon you with each defining moment.
A rich family child’s adventurous night might mean a night inside a fancy tent
in his larger, sprawling, beautiful lawn, as the ever protective parents watch
over him, from the glass walls of their
beautiful, interiors. The same night might mean a torturous nightmare, for
someone locked up somewhere in the depths of poverty—literally and figuratively,
and a heavily stressful hide and seek game for some hiding under a table.
The entire story is shot in contrasts, drumming in endlessly the vast
disparity between the classes. If the Kim family lives in a house that is a
kind of semi basement, the rich live literally up and above a certain ground
level, led by a staircase, into bright sunlight. Which leads to the contrast of
light used in the stunning cinematography. Every time the Kim family is in
trouble, they are seen going down a long staircase, whether it is inside the
Park household or towards their own house.
A most unforgettable wide shot, shows the family running in the rain,
dripping wet, down a long, winding stairway. The camera is static for a few
seconds. The frame is dark grey. That stairway clearly leads to hell. The hell is
flooded with not just water, but grief, desperation, the ensuing struggle to
survive-- needs to be, deserves to be, demands to be seen in all its horror.
Irony crops up in the minutest details which again are a part of the way
the house is designed. When you see the rich Mr Park walk up his stairs, the
path is gradually lit up with lights, there is a (very dark) reason behind it.
And of course, Mr Park is blissfully ignorant of this, again denoting how the
rich choose to ignore the cause of their own elevation in life. The tone here
is at once hilarious as it is horrifying.
Most of the time, we observe the rich from the eyes of the poor. “Rich
people are naïve. No resentments. No creases on them, ” says the poor husband.
“It all get ironed out. Money is an iron,” replies the wife
philosophically.
There is a montage sequence which takes storytelling to another level
through simply the shots and the edit. There is a distinct rhythm here,
starting from a cheerful , funny note and moving to a crescendo. The five
minute sequence comes right in the beginning,
adding tempo to the story and more importantly, introducing us to a very
important character in the film- the housekeeper of the Park family; with an
opera piece playing in the background. Needless to say, the montage ends in a
dramatic climax of its own.
Every frame, every shot, every
expression, every sound, every dialogue and every prop including a cleverly
placed knicker or a peach skin or an expensive and exquisite piece of
rock---each is a work of finely detailed craft. The rock finds its own journey,
along with the main protagonist receiving it, claiming it to be “metaphorical”. Indeed, that rock stands for
his desire and aspiration.
‘Parasite’ is not a horror movie. But it is seriously scary as is the
question posed; in today’s capitalist world, who is the parasite? The rich? The
poor? Or both?
The end when it comes, takes you in a trance before it hits you. Again,
the most compelling contrast ever.