A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Jung Jae-il. Show all posts
Showing posts with label Jung Jae-il. Show all posts

Wednesday, April 22, 2020

Okja (Bong Joon-ho, 2017)

Ahn Seo-hyn in Okja
Cast: Ahn Seo-hyun, Tilda Swinton, Paul Dano, Jake Gyllenhaal, Byun Hee-bong, Giancarlo Esposito, Steven Yeun, Lily Collins, Yun Jee-moon, Shirley Henderson, Daniel Henshall, Devon Bostick, Choi Woo-shik, Choi Hee-seo. Screenplay: Bong Joon-ho, Jon Ronson. Cinematography: Darius Khondji. Production design: Lee Ha-jun, Kevin Thompson. Film editing: Yang Jin-mo. Music: Jung Jae-il.

In comparison with the other films by Bong Joon-ho I've seen, Parasite (2019) and Snowpiercer (2013), Okja seems to me a bit of a misfire, like a kids' movie gone dark, Charlotte's Web crossed with The Shape of Water. It often feels over-frantic, when what I want it to do is score its points against corporate hype and hypocrisy cleanly and without shouting them at us. The film centers on the Mirando Corporation's attempt to develop and market a "superpig," which involves creating animals in a lab and then farming the superpiglets out around the world, seeing which environment is most successful. The winner is judged to be the superpig -- which looks like a cross between a pig, a dog, and a hippopotamus -- raised by Mija (Ahn Seo-yeun) and her grandfather (Byun Hee-bong) on their small farm in the mountains of South Korea. The kids' movie part of the film is the affection of the girl for her pig, but of course things go awry when the corporation, headed by the air-headed Lucy Mirando (Tilda Swinton), decides to declare Okja the best of all superpigs -- followed, of course, by introducing all manner of superpig food products, something that Mija never suspects. Lucy's henchmen include Johnny Wilcox, a star of TV animal programs, played a little too frantically against type by Jake Gyllenhaal, and the  suave corporado Frank Dawson, in a more understatedly sinister performance by Giancarlo Esposito. Things go awry when an animal-rights organization, a caricature of PETA (which often seems to caricature itself), staffed by enthusiasts who give themselves pseudonyms like Jay (Paul Dano) and K. (Steven Yeun), take Okja's side and plot to expose the mistreatment of the superpigs in Mirando's terrifying abattoir. There's also a subplot about Lucy and her supposedly more evil sister, Nancy, also played by Swinton, but it feels unnecessary. There is some fun to be had in the film, with its elaborate chase scenes, but I found myself a little exhausted by its end.

Friday, April 10, 2020

Parasite (Bong Joon-ho, 2019)

Choi Woo-sik, Song Kang-ho, Jang Hye-jin, and Park So-dam in Parasite
Cast: Song Kang-ho, Choi Woo-sik, Park So-dam, Jang Hye-jin, Lee Sun-kyun, Jo Yeo-jeong, Jung Ji-so, Jung Hyun-jun, Lee Jeong-eun, Park Myeong-hoon, Park Keun-rok. Screenplay: Boon Jong-ho, Han Jin-won. Cinematography: Hong Kyung-pyo. Production design: Lee Ha-jun. Film editing: Yang Jin-mo. Music: Jung Jae-il.

Comedy that turns violent seldom works. I'm thinking in particular of my recent viewing of Peter Medak's The Ruling Class (1972), which goes abruptly from a giddy satire of upperclass manners into a dark tale about homicidal mania, losing the audience's assent to its original vision. So why does Parasite, which takes a similar turn, work so well that it won over international audiences and walked off with three of the most prestigious Oscars, for picture, director, and screenplay? It's a story of how the Kim family, eking out a living in a sub-basement, conned their way into the household of the wealthy Park family, who live in a classy house designed by a famous architect, but are then undone by a secret built into the house itself. I think it works because Bong Joon-ho's vision is dark from the start, but his touch is light, making us appreciate what drives the Kims -- poverty and class resentment -- and what makes the Parks so vulnerable -- snobbery and vanity. Both families need a comeuppance, the Kims for their lack of scruples, the Parks for their sense of entitlement. Maybe the comeuppance is overkill, but Bong has kept his characters at a slight distance throughout the film, so that we don't feel the shock of loss when they meet their fates. The ambivalence we may feel about them is summed up in the title: Parasite could refer to either family, the Kims who exploit the Parks, the Parks who ride the crest of societal privilege unaware that their good fortune is built on the misery of others.