Bong Joon Ho. Bong Joon Ho is a master of genre blending who has now made an impressive six archiveable films since his debut in 2000. They are often entertaining treatises on the class divide– social statements with laughs one minute, a serious message the next, followed up by sometimes abrupt, shocking violence. As good as Parasite is, it is the accumulative both of work now that is his strength– I have mentioned several times how Parasite actually improves Snowpiercer.
a shot that belongs on a wall in a museum here from Memories of a Murder– Bong is a self-described genre artist- manipulating, reinventing, reveling in, debunking and blending
Best film: Parasite
- Bong’s strongest achievement to date—a razor sharp script, engaging narrative, funny, sociopolitical
- A brilliant opening shot from the basement of the Kim’s semi-sunk apartment (with drying socks as their chandelier). It ends on the same note — spectacular formal bookends (for a second I thought we were going with an unearned Spielbergian Minority Report-like ending (Bong’s penultimate shot which is another stunner just before the final shot) but thank god Bong didn’t go for that). That shot is a dream, lighting coming in, and then we end with the second shot below here- the cold winter through their depressing sunken apartment window.
A brilliant opening shot from the basement of the Kim’s semi-sunk apartment (with drying socks as their chandelier). It ends on the same note — spectacular formal bookends
- Two families, two houses (fantastic set pieces) and the different literal and metaphorical level in the house and the city (half-sunken apartment, the hidden basement apartment, the mansion on higher elevation than the rest of Seoul (as we see during the flood sequence– 92 minutes rain and run back to house. Stairs down in long shot –Biblical flood)) are all a part of the narrative but of course is Bong’s social statement as well. This class statement and the family as a unit (important to Bong in his body of work) is all Bong. He makes a similar statement in Snowpiercer of course with the different classes in the carts and what keeps the train going (much like the title here literally living off the classes). Like all great auteur cinema, Parasite works a supreme stand-alone film, but also deepens and enriches Bong’s previous films
- I don’t know how you write a review of Parasite without mentioning Bunuel. Parasite has the best of Bunuel- there’s The Exterminating Angel and The Discrete Charm of the Bourgeoisie here. Bong, like Bunuel, takes a flamethrower to the bourgeoisie but Bong’s Parasite is more complex than Bunuel’s middle-finger cinema as the Kim family also holds on for dear life to their new-found social standing when the previous housekeeper and her husband threaten it.
- The depiction of the Park family is dark. Their sex scene together pretending to be on drugs and lower class is revolting and could be right from Bunuel. This is also yet another scene where the Parks are both physically and socially above the Kim family (the Kim family is hiding underneath their furniture).
- Open discussion of the thesis, the rich, creditors and debtors. This isn’t subtle- it’ll be interesting to see how critics compare it with Joker as they have much in common frankly.
- This is bleak but never punishing—it’s an incredibly easy 132 minutes
- Like The Shining, Bong has weaved the Native Americans here as a symbol of oppression
- the first 53 minutes are really The Sting (broadly of course)- an elaborate and entertaining heist game with social class context
- Class also plays a part in 2018’s Burning from Lee Chang-dong (both use cinematography Kyung-pyo Hong). Lee Chang-dong and Bong are the Godard and Truffaut of the South Korean New Wave here over the last 20 years. After one viewing of Parasite I think Burning is the slightly superior work. There’s nothing here like the finale climax of Burning in terms of pure filmmaking or the jaw-dropping long-take Jong-seo Jun’s character stripping and dancing desolately in the magic-hour dusk
- Von Trier’s Dogville is another film that I think is an apt comparison, some of the work of Pasolini, and definitely Peele’s Us, and Get Out
- A key shot is the views from the windows of the two residences again. The Park family has a pristine paradise. The Kim family is literally getting pissed on by drunks who stumble around a half-level above. The two houses are important set pieces, but the windows (both have prominent windows) specifically– masterful
- Bong continues to be a master of blending genres. This film is a satire, and a wildly successful one, but there are elements of real connection (the two Kim men lying next to each other talking about their dreams), moments of an elevated drama, and there well executed moments of a visceral thriller as well
- there are multiple rewarding levels and layers to the film– both text and subtext– the stick bugs (not something I remember from the first viewing), “Crossing the line”, the landscape stone and it’s significance, “so metaphorical”- haha
- the voice over at 116 is really the coda and switching to the letter written. I think it is fine formally.
- feels like it is at least a Must-See film– perhaps a MS/MP or even a MP with a third viewing.
total archiveable films: 6
a gorgeous shot- foreground/background work in the frame from Memories
top 100 films: 0
top 500 films: 0
top 100 films of the decade: 1 (Parasite)
most overrated: The Host. It is from the 21st century (2006) and it is already on the consensus TSPDT top 1000. It is ranked #8 for its year- and I don’t see it. And I’ve seen The Host multiple times this time. Many there will be a revelation the next time I watch now that I’ve seen Parasite.
most underrated : Bong is very well respected but the critics—all six of his films below are on the TSPDT 21st century top 1000 and most rated very well. If I’m going to pick a nit it’s with Mother – it lands way down at #17 for 2009 and I’d get to it before that.
Bong is very well respected by the critics- but I think Mother is a tad underrated
gem I want to spotlight : Snowpiercer. I think on its own it’s very good- but now with Parasite and the dueling set pieces of the train (Snowpiercer) and the house (Parasite) as metaphors for the class divide—brilliant- makes it a much stronger work.
dueling set pieces of the train (Snowpiercer) and the house (Parasite) as metaphors for the class divide—brilliant
stylistic innovations/traits:
- a self-described genre artist- manipulating, reinventing, reveling in, debunking and blending
- social films- subtext and stories about the middle-lower or lower class—class divide, stories of the family dynamic as well
- set-pieces (whether it’s a train, house, set of stairs/hill) that tie to the class divide motif
- a gorgeous one in Okja- and a lot more prominent in Parasite– gorgeous visual work with windows and creating a breathtakingly beautiful frame
a gorgeous one in Okja (above)- and a lot more prominent in Parasite (below)- gorgeous visual work with windows
- with his work in so many genres there are a number of auteurs you can talk about and compare with Bong– Bunuel among them for sure- I think Guillermo del Toro another– however- two of Bong’s greatest shots here visually are right from the Kurosawa playbook.
echoes of the playground structure shot in Ikiru— a magnificent shot here from Mother
top 10
- Parasite
- Mother
- Memories of Murder
- Snowpiercer
- The Host
- Ojka
I’m watching too many Kurosawa movies right now not to admire this stunner of a composition from Memories of a Murder
By year and grades
| 2003- Memories of Murder | HR |
| 2006- The Host | R |
| 2009- Mother | HR |
| 2013- Snowpiercer | HR |
| 2017- Okja | R |
| 2019- Parasite | MS/MP |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
Finally. Bong Joon Ho is one of the 21st century’s great talents and Parasite is one of the 21st century’s best movies. I also think the Host is a tad bit underrated here.
Maybe Bong should be higher though?
Based solely on resumes, surely Bong Joon Ho is a better director than someone like Satoshi Kon. Bong also seems to be improving with every movie he makes.
Do you think he is one of the 10 best directors currently working?
In what position do you land on the best of the 21st century?
I haven’t made a list of best directors. I just think very highly of Bong Joon Ho. I think he is a great director. @Aldo, have you made a list of the best directors of the 21st century? What do you think of Bong Joon Ho?
I didn’t really understand the 2nd question. I think I would land in the top 10000 best directors of the 21st century but I’m not a director. I just like making short films and playing around with editing soft wares. I remember a long time ago when I was in high school I won a short film competition – haha.
Sorry if you didn’t understand me @Azman, 21st century no, just from the 10s, my question was do you think 2010-2019 Bong Joon Ho was one of the best directors working?
You said that Parasite “is one of the 21st century’s best movies” my question was, where does it land in the best movies of the 21st century? (Parasite)
Yes. I think very highly of Bong Joon ho. I would say he is amongst the best.
I haven’t made a list but Parasite is a MP for me. Most likely top 25 of the decade for sure.
What is your opinion about Bong joon ho and Parasite @Aldo?
@Azman. Honestly I’ve only seen 2 of his movies, (Parasite, Memories of murder) the first one I thought was the best movie of 2019, but the achievements of OUATIH and 1917 have displaced him, i would have it at 6, where would you place it in 2019?
As for the other does not land in the top 10 of 2007, but it is not an insult since 2007 is incredible.
Love Memories of Murder. A MS in my Book. The cinematography, the acting, the story. Great movie.
@Aldo, Parasite is easily one of the best of 2019. I haven’t made a list, but Parasite would be very close to #1 spot and maybe even the best film of 2019. I haven’t made a list though so I’m not sure.
Also, memories of a murder is a 2003 movie not a 2007 movie.
When you made your 2019 list, you had Parasite at #11 and an HR. Now, some months down the line it is listed as MS/MP. Would you now place the film as top 5 of the year? That ranking places it above 1917, Ad Astra, and even The Irishman.
@Zane- yep, well I saw it again. I haven’t thought about relitigating the top 10 from 2019 yet— I will be doing that when I update the 2019 page– probably next year at this point. 2019 is loaded– but yes, certainly Parasite will be moving up
The Irishman and 1917 are masterpieces.
There is no way that Parasite is the undisputed number one as TSPDT points out.
It was sold by Parasite a year ago, but was more impressed by the achievements of The Irishman, Midsommar, 1917 and OUATIH.
1917’s achievements are highly commendable but compared to Birdman it felt Mendes took much less advantage of the long-take approach than Inarritu, where it is brilliantly executed all around a single location and drives the plot forward greatly, whereas in 1917 it didn’t have as strong an impact, at least not for me. The single moments in each film where there is a “hard” cut (Riggan’s performance and Schofield blacking out in the tower) also felt more earned by Birdman in my opinion. About the film itself, I didn’t really connect with any of the characters and they felt weaker than in most other war epics as I felt I didn’t really get to know a whole lot about them at all, and if Schofield had gotten killed and the British Army massacred by the Germans I really wouldn’t have cared less about what happened (that is so long as we don’t see it happen: if we do watch said hypothetical massacre and it is brutal, it certainly would’ve had an impact). Aside from these though, there’s not really much else to complain about with the film: it is exceptionally directed (although I’d still put AQotWF or PoG above it), MacKay’s performance is similarly exceptional if rather one-note (you can see the Flyora (Come and See) in his acting, though 1917 didn’t go quite to that film’s extent), and the film is of course extremely well-shot. Definitely a top 10 and I’d also say top 5 of the year. Besides I’m not really a professional film critic at all so my opinion is probably worth dirt haha.
To elaborate on my meaning, the film is certainly bleak but never harrowing, and I never really felt a true sense of dread while watching it, something I feel is essential in a war film. Though that wasn’t helped by the reviews praising MacKay as a “great hero” and whatnot, making it obvious to me he would survive the film.
I watched a double feature of Mother and The Host today, and I noticed how much Bong loves his profile close-ups. It’s like he is hiding parts of his characters from our view. I would even say that it is specifically used as a motif in Mother at times when we’re not really sure of the darkness in her character. It makes me want to watch Parasite and his others to see if it comes up there too.
@Declan- nice! not something I had noticed.
@James Trapp- Thank you for the help here
With Parasite and Memories or Murder now both sitting at MS, which do you think is superior? I watched Memories last week and went into it thinking that it would definitely be sub-Parasite, but after actually seeing it I’m not sure. I think it’s stronger visually (atleast as far as highlight compositions go), but I think Parasite is easily the bigger formal and writing achievement. I’m not sure where it ends up leveling out overall
@Matthew – interested to see Drake’s response
I would agree that Parasite has the superior screenplay and structure. Formally there is much to admire as various shots and lines are repeated throughout the film; the “so you have a plan” line is repeated throughout the film as are references to the rock, the way the older housemaid tries to draw sympathy from the new one calling her “sis” and getting rejected only to end up in a vulnerable situation a few minutes later and then trying to draw sympathy in the same way from the old housemaid by calling her “sis” and being rejected in the same manner. Ending with Mr. Kim now the one in the cellar was so brilliant
They both masterfully blend humor and irony into their narratives. Much dark humor throughout both of these films. Bong’s ability to shift tones is at Masterful level and is also unique. In the 2nd half of Parasite the film reaches Hitchcockian levels of suspense as there essentially become 3 relevant parties; the Kim Family, the Park Family, and the old housekeeper and her husband
Memories of Murder is closer to a character study while Parasite is more allegorical in nature as it contemplates the have vs have nots of society. While they both contain emotional gut punches, I think Memories of Murder is more emotionally shattering as it feels more intimate, I love a lot of the smaller moments like the detectives at the karaoke bar or talking about Nike shoes. Bong does not idealize the police/investigators who abuse their power, brutalize suspects forcing false confessions, and completely lack all professional throughout much of the film
Visually Memories of Murder has great blocking and Bong intentionally uses very few primary colors, instead opting to use grab colors such as gray and dark green making it look at times like a Jean-Pierre Melville film, particularly Army of Shadows. The only scenes with bright colors are the opening and closing scenes which feature the bright yellow wheat fields. I loved the final shot of Song Kang-Ho character breaking the 4th wall not with words but stare
For Parasite there are so many shots of characters talking to or looking at each other literally on different levels; whether it is staircases, steps, hills, etc. there are so many shots indicating the characters are not all on the same level playing field so to speak. When the Kim Family make their escape from the Park Mansion and returns home, almost the entire journey back we view them running literally downhill, downstairs
If forced to pick I will go with Parasite by an inch for now. I would strongly recommend Mother (2009) which I think is easily his 3rd best film
I would also lean Parasite, but I do think it’s very tight. I loved reading this. Particularly the comment about Parasite’s tonal shifts. I can hardly think of any films that so perfectly handled such massive changes in tone than Parasite did. I’m also in love with how rigorous the exploration (visually, formally, narratively) of the relationship between the 2 families (and old housetaker) is. It’s among the most precise films I’ve seen. Every single element connects and intertwines with each other. It’s so expertly crafted. Joon Ho is really building a mansion here. Not to take away from Memories, but I think Parasite is one of the best pure narratives of the entire century, actually
On another note, which of the 2 do you think Song Kang-Ho gives the better performance in?
@Matthew- I would have Parasite slightly higher- but I would love another look at Memories
Fair enough. When’s the last time you caught it?