"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

© all material on this website is written by Michael McCaffrey, is copyrighted, and may not be republished without consent

Parasite: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.5 out of 5 stars

My Recommendation: SEE IT. A fantastically original film, gloriously directed and acted, that is both dramatically potent and politically insighftul.

Language: Korean with English subtitles

Parasite, directed and co-written by Bong Joon-Ho, is the story of the Kim family, who live at the bottom rung of Korean society and try to connive their way out of poverty. The film stars Song Kang-ho as father Ki-taek, Jang Hye-jin as mother Chung-sook, Choi Woo-shik as son Ki-woo and Park So-dam as daugher Ki-jong.

Parasite is an exquisitely crafted film that, although it is in Korean with English subtitles, speaks as eloquently and insighftully about the perils of American capitalism and the growing resentment and rage born out of astronomical wealth disparity, as any film in recent memory. In this way Parasite is reminiscent of last year’s Shoplifters and this year’s big movie Joker. All three of these movies tap into the pulsating dissatisfaction of the working poor who are being left further and further behind, and growing angrier and angrier about it, with every passing day.

Whenever certain themes recur in films that capture either the critical or commercial imagination (or both), my antenna stand on end because as my studies have shown, cinema can be prophecy, and these films are red flags as to what is percolating just beneath the surface in the collective sub-conscious. One look around America, and the world, gives credance to the theory that these films, all of which give voice to the emotional pull of populist uprisings, are trying to warn us of what lies ahead.

Parasite is a brilliant examination of the frustration and fury that accompanies being at the bottom of the social rung in a corrupt and rigged capitalist system. The only way to get ahead and get out of the prison of debt, and it is a prison, is to lie, scheme and cheat. If that means throwing other poor people under the bus, then so be it.

Director Bong Joon-ho has tapped into these ideas of class struggle before, most notably in his film Snowpiercer (which starred Chris Evans aka Captain America), which was a remarkably innovative and original film. Bong’s class consciousness in both Parasite and Snowpiercer is fueled by anger and fear… namely, fear for what will result when the anger from below is righteously unleashed upon those at the top when the house of cards crumbles. Bong, either consciously or unconsciously, understands that the current world order sits atop a super volcano that is growing more and more unstable and combustible, and his film’s reflect the emotional and political fragility of our time.

In Parasite, the poor are vermin, roaches, who are either being pissed on or drowned, as poverty is a deluge that imposes upon them indignity after indignity until it suffocates them. The poor are forced to stay in their place and warned not to “cross the line” into familiarity with the rich. The prison of poverty has walls, both real and imagined, that are impenetrable…even when you repeatedly bang your head against them…like Arthur Fleck does in Joker (wink).

The rich family in Parasite, the Parks, are the picture of decadence, detached from the ability to see the poor as even human. The Parks are repulsed by the poor, who they see as more akin to animals than people, as evidenced by their disgust at the literal smell of poverty. The Park’s revulsion at the poor does not stop them from fetishizing poverty, much like Americans fetishize Native Americans but make sure they stay on the reservation (wink)…just one more way for the rich to exploit the poor for their personal gain.

Parasite’s politics and psychology are as insightful as its drama is enrapturing. The film never shies from the difficult or the desperate, nor does it wallow in it. Instead Bong Joon-ho has made a socially relevant, dramatically explosive film that is deliriously entertaining in every single way.

Bong’s direction of Paradise is fantastic, as the film’s dramatic and physical geometry is spectacular. His use of straight lines, differing levels (symbolic of class status) and long journeys upward and downward (very similar to Joker, where Arthur Fleck makes those trudging journeys up the long flight of stairs, and the victorious dance down it) is proof of a master craftsman and artist at work.

Bong’s ability to meld together comedy, suspense, elements of thriller, as well as social commentary is extraordinary. I never knew what was coming next in Paradise and was always surprised, sometimes shocked and never disappointed.

The cast of Paradise are outstanding. Song Kang-ho in particular gives a dynamic performance that is consistently rich and layered. And both Choi Woo-shik and Park So-dam do stellar work that is both magnetic and subtle. Park in particular has a charm and presence about her that is intriguing and compelling.

Parasite is one of the very best film’s of the year and most certainly will garner an Oscar nomination for Best Foreign Picture, if not a win, and may even sneak in a Best Picture nod. The film is expertly made, wonderfully acted, politically prescient and dramatically potent, for these reasons, Parasite is required viewing for cinephiles and regular folk alike. My recommendation is to go as quickly as you can to the art house and see Parasite…it is that good. And after that, head to the cineplex to see Joker…again, and then when you get home watch Shoplifters (I see it is now available on the streaming service HULU)…because they are that good too. If you want to know what is coming for America and the world, and why, go watch those three movies. But make sure you go see Parasite as quickly as you can…it is truly a fantastic film and well worth you time and money.

©2019

Cold War: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.5 our of 5 stars

My Recommendation: SEE IT. A fantastic foreign film that is both personal, political and philosophical that boasts tremendous performances from both of its leads.

Cold War, written and directed by Pawel Pawlikowski, is a Polish drama set during the Cold War that tells the story of the love between a young singer Zula, and the musical director who discovers her, Wiktor. The film stars Joanna Kulig as Zula and Tomasz Kot as Wiktor.

Just when I thought 2018 was to be officially designated as cinematically irredeemable, a bunch of foreign films have appeared late in the year that have been a lifeline to artistic redemption. Four of the best movies this year are foreign films I’ve seen in the last month, Shoplifters (Japan), Roma (Mexico), Happy as Lazzaro (Italy) and now Cold War (Poland).

Of course, context is everything and a less gracious interpretation of my adoration of these four foreign films could be that their artistic success is a result of their being in such stark and glaring contrast to the cinematically vapid garbage vomited upon the movie-going public by Hollywood this year. Regardless of why foreign films are so good this year and Hollywood films so bad…the fact remains that it is decidedly so and I will simply enjoy quality cinema without compromise where I can find it.

Which brings us to Pawel Pawlikowski’s Cold War. Cold War is a beautiful and brilliant film that is both personal and political, poignant and prophetic. Shot in a stunning black and white that highlights a bleak but bold aesthetic, Cold War is both visually striking and dramatically potent.

Pawlikowski, who also directed the Academy Award Best Foreign Picture winner Ida (2014), deftly crafts a lean film that is able to thoroughly tell the story of Zula and Wiktor amidst the wider Cold War that comes in under 90 minutes. Pawlikowski trims all the fat from the narrative and we are left with a strikingly effective and deeply insightful film that flows seamlessly through decades of personal and political history without skipping a beat.

Cinematographer Lukasz Zal masterfully uses the stark black and white to enhance the sub-text and narrative by deftly painting with shadow and light. Zal’s framing is impeccable, as evidenced by his very subtle but extremely effective and polished use of mirrors throughout the film to highlight the difficulty in discerning what is real and what is illusion. There is a shot of an after-concert party with a mirror for a wall that is so ingenious, precise and finely detailed I nearly fell out of my seat.

Pawlikowski and Zal never hit you over the head with their artistic virtuosity, as it is so understated as to be sublime, and creates an exquisite cinematic experience that is not only gorgeous to behold but extremely useful in propelling the narrative.

Joanna Kulig gives a transcendent and mesmerizing performance as the singer Zula. Kulig is a luminous talent and she is blessed with a vivacious, vibrant and voluminous magnetism that is unrelentingly irresistable. Ms. Kulig’s Zula is a wild animal from the hinterlands of Poland and she is as palpably dangerous, untamable and uncontainable as she is volcanically compelling, charismatic and complicated. Zula is a singer of traditional Polish folk songs and jazz, but she has a rock and roll soul as evidenced by her ecstatic and deliriously contagious reaction upon hearing Bill Haley and the Comets in one electric scene.

Ms. Kulig is like a Polish Jennifer Lawrence, stunningly beautiful with a relatable groundedness and charming fearlessness. Simply said, viewers, much like the character Wiktor, are unable to take their eyes off of Zula whenever she is on screen.

Tomasz Kot is equally effective as Wiktor but in much less dynamic ways than Ms. Kulig. Mr. Kot’s Wiktor is much more intellectual than the visceral Zula, but once she awakens the primal nature within him there is no putting it back to sleep. Wiktor is at first a rational man who is securely contained in a distant coolness, but as the film progresses and he gets ever closer to the inferno that is Zula, the ice melts and with it goes Wiktor’s rationalism.

What is fascinating in Cold War, is that the love story of Zula and Wiktor is such fertile ground for very profound political, social and philosophical symbolism. Zula is not just a firebrand from the back woods of Poland, she IS the Polish anima. While she may be swayed from one camp to another, be it the lure of western decadence or the security of Soviet protection, she is ultimately true only to the “folk” of Poland. In this way, Cold War is a meditation on the nationalism that is currently spreading across the globe in general and Europe in particular. Throughout history, Poland may fall under the rule of the Soviets or the West or some other power, but it will never fall under their spell. As Zula and Wiktor show us, Poland is for the Poles, and only Poles can truly understand it…which is true no matter what nation you plug into that statement.

Both Wiktor and Zula find “freedom”, at least as freedom is defined by western capitalism, but they don’t experience it as freedom at all but rather as decadence that is corrosive to their hearts and souls. The “easy living” of the west is a fool’s gold and Zula and Wiktor would rather be prisoners to political oppression in the east than slaves to their own desires in the “free” west. Zula and Wiktor learn that the “lie” of Soviet communism is dreadful, but the even bigger lie of the capitalist west is even more destructive to them.

Zula struggles to survive no matter where they go in Europe because at heart, she is the Polish countryside, and it is only there where she can find transformation and transcedence, and only with Wiktor. Early in the film Wiktor stumbles upon the ruins of a church and discovers giant female eyes painted on the wall that look right through him and watch him wherever he goes. Wiktor then looks up and sees a large round opening where the church roof used to be that reveals the sky. This circle, a symbol of wholeness, is the key to the film, as it reveals that both Wiktor and Zula, must go on their grueling journey of heart and soul in order to complete that circle and be transformed. The circle is atop a Catholic Church because the Catholic Church is the container for the spirit of the Polish people and the Polish anima - Zula. The Catholic archetypes are the ones that resonate in Poland, and Wiktor and Zula need to transcend the limitations of not only the Cold War powers that govern them, but also the religion trying to contain them. Their love is a love of wholeness that is as boundless as the heavens that dance above that whole in the church’s circular roof, but they can only attain it by going through the archetypes of the church.

In conclusion, Cold War is a stunning film about love, loss, identity and artistry that is dramatically powerful and politically poignant. Visually stunning and propelled by glorious performances from its two leads Joanna Kulig and Tomasz Kot, Cold War is a must see for any cinephile. More conventionally inclined viewers may struggle with the film as, like most foreign films, it is rather existential in nature and is less rudimentary in its storytelling. That said, if you love movies or have a cinematically adventurous heart and open mind, then you should definitely see Cold War.

©2019