"Parasite" is that without giving any convincing reasons, the film successfully awakens people's natural hatred of wealth and relieves the moral anxiety of middle-class people due to wealth.
Realism
I remember an article beginning with this title-"Parasite" success is the decline of realism movies. This is neither correct nor correct. The correct part is that the author realizes that the so-called Palme d’Or "Parasite" is far from true realism, and what is incorrect is precisely that this formulation already implies The basic premise of "Parasite" is a realistic film.
In my opinion, any point of view that links "Parasite" with realism is the corrupting factor that led to the decline of realist movies, and "Parasite" itself is not realism at all.
At first glance, "Parasite" seems to tell an authentic Korean story, smell, North Korea, basement, Indian, Ingrid, Korean college entrance examination, etc., but these metaphors-I prefer to call them symbols ——Metaphor lies in "hidden". It has a space for interpretation, while symbols are relatively narrow. Its meaning is almost certain. This is well reflected in "Parasite", completely stripped from the story, or It is replaced by other symbols, which will not affect the narrative at all. These symbols of only play a decorative role, they only appear to have a profound story, and forcefully expand the interpretability of the film.
On the other hand, many people really interpret a lot of "profound connotations" from the clues of the movie, such as German America and colonial history. I have to point out that these so-called "profound connotations" are still valid from the story. Then, what is profound is not the movie, but the complicated symbols themselves.
is also precisely because these symbols, no matter whether they are simple or not, do not form a scene with the story-an environment in which you can experience the state of the characters, making the film become the director's self-talk. At the same time, it also cut off the locality of the story-this story can take place in Tokyo and New York, all that is to be done is to replace it with a matching symbol system. Therefore, "Parasite" is neither realistic nor Korean.
Enmity against the rich and moral anxiety
Now, looking back at this movie, the director is like a skilled juggler, making these symbols that are so clear that they are self-evident, and they become efficient and precise spears. The audience's feelings of sympathy and guilt, warning in the tone of a stern tutor, splashed the faces of the middle-class people in front of the screen.
Maybe many people don’t mind, but I wiped my face, and I have to point out that the poor people in a movie really don’t see the director’s bitterness. This kind of imagining of the suffering of others is just the adultery of the rich—I Material satisfaction, and then I have to relieve moral anxiety.
The idea of "Parasite" is very simple, but it has become very effective because of it-focusing on depicting the huge differences in class, how poor and miserable on the one hand, and how rich and comfortable on the other. What's more interesting is that the poor are all clever and cunning, and the rich are all stupid idiots. This is easy to explain. As I mentioned earlier, it comes from the imagination of the suffering of others.
The silly rich are self-deprecating middle-class people in exchange for moral psychological balance to offset the guilt brought by wealth-yes, the basic idea of "Parasite" is: wealth is original sin .
And such a calm, unscrupulous, bold and cautious poor are the judges who come to convict. This is their mission, not to get out of the basement by virtue of their outstanding ability. Crimes that have not been sentenced are not convicted. Charges: rich, sentencing: death sentence, executed immediately.
Self-depreciation is not enough to alleviate moral anxiety, because it only lowers the identity and does not make judgments about wealth. Only in the movie on the screen, the false symbolic death because of wealth is the right medicine. Simply put, it is The rich must die.
In this way, the different audiences of "Parasite" have all received illusory satisfaction-the not-so-rich audience's enmity sentiment is comforted in death, and those middle-class audiences who are rich enough have moral anxiety. Also relieved in death. This is why "Parasite" is so popular. Everyone gets what they want from the movie, and the audience loves to watch what they love.
However, this kind of narrative is dangerous and there are hidden dangers-the natural hatred of wealth cannot be completely eradicated through false death, and the moral anxiety of the middle class is only alleviated. The movie provides fierce confrontation, on the screen You can end all this at any time, and the idea of confrontation will not disappear when the movie ends. This is what is really scary. You and I know what fierce confrontation means—death.
Revolution
The title "Parasite", from the perspective of the plot, "parasite" refers to the Kim family parasites like a parasite in President Park's house, but the Kim family has the meaning of anti-objectism, and has a strong substitute for it. Willingness. You feel sympathy and wonder who is the parasite, or you shout "President Park's family are the parasites!" Then congratulations, you finally realize the ultimate meaning of this movie.
regards the property-owners in the city as parasites. There is a precedent in modern history-welcome to the red revolutionary narrative!
"Parasite" can be divided into two, the dividing line is the call in the rainy night. Although the director has worked very hard to speed up the rhythm of the first part, is still extremely procrastinated, , at least not commensurate with the constant turning of the plot and the huge amount of information in the second half. There is not much to say about the first part of
. It has excellently completed the basic description of the rich and poor and gradually completed the construction of the concept of "parasites". The second part, the plot after the call to the housekeeper outside the house on a rainy night, is the core of the film, and the interpretation of the film usually revolves around this part.
The former housekeeper Wenguang and his wife and the family surnamed Jin, they were originally poor people who stood on the united front and were parasites of President Park’s family, but after the two families knew each other, the conflict broke out because of the previous " Unfair competition", Wenguang and his wife launched revenge on the Jin family.
There is no doubt that revenge will only lead to more fierce revenge, and a revolution begins here. Jin Zeki, who came home after a heavy rain, saw the tragedy on the road. A well-designed long shot showed all of this. Usually we will see shots with similar feelings in war films. The next plot of
can be described like this-the cruel and unforgiving internal fighting among the parasites, the result is that the stronger party wins and the fatter President Park's house, and the unwilling party rises up to fight back , Launched the ultimate revenge with suicidal terrorist acts, and the flames of violence spread from bottom to top, triggering a revolution in an attempt to subvert the existing order.
There is a strong sense of "class struggle" permeated here, violence and intolerance are implemented by the parasites. The scene of Wenguang’s husband coming up from the underground after killing people, together with fine wine and music editing, almost bluntly shows that such a revolution is anti-civilization and anti-human.
However, we don’t know what kind of society the parasites want, just like the people who are killed for no reason in the film-please don’t be obsessed with the smell, disrespect others is not killing at all The reason for this, and whether this is disrespectful is still inconclusive.
In Ki Woo’s vision, we see that the parasites are only looking forward to replacing them, eager to become the next President Park, own an old villa, reunite with his father, and symbolically rescue other parasites trapped underground. This is not a new picture at all. The re-interpretation of the story is not revolutionary. In the final analysis, the parasites are not clear about their aspirations and just rely on emotions to destroy them.
So, this ending is not convincing-it will not only invite passionate activists to criticize its compromise and incompleteness, but also be accused of violence and uncompromising by calm and cautious conservatives.
Author|Mr. Tambourine's rubber head
was once so old, but now it is magnificent
