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
Has anyone seen Mickey 17 yet? I got my tickets for tomorrow night
@James – I’ve seen it. I’m aware of the whole “the film following a masterpiece is often misunderstood, underrated, overlooked” rule that Drake has which is normally pretty good, but this feels like an exception to the rule. Not sure the ceiling here is too much higher than a recommend. Very heavy on political satire, not much wrong with the film but lacks the visual ambition that I love about his films making it hard for me to praise it heavily. Pattinson is good.
@Harry- Thanks for sharing
@Harry – Sounds a bit like Okja (2017) which was entertaining but his weakest film visually aside from Barking Dogs (2000)
@Harry – I finally caught this, I had tickets back when it was in theatres but something came up last minute
I agree with your assessment. It is a solid R. Similar to Okja (2017) in terms of quality and entertainment value although the political satire wears thin. I was impressed with the performances though
My ranking of Bong`s films that I`ve seen:
1. Parasite MP
2. Memories of Murder MP
3. Mother HR/MS
4. Snowpiercer HR/MS
10 Best Performances
1. Song- Parasite 5
2. Song- Memories of Murder 5
3. Kim- Mother 5
4. Cho- Parasite 5
5. Choi- Parasite 5
6. Park- Parasite 4.5
7. Swinton- Snowpiercer 4.5
8. Park- Memories of Murder 4.5
9. Evans- Snowpiercer 4
10. Harris- Snowpiercer 4
Study Summary:
Bong Joon-ho was great long before he ever made Parasite (2019) but it was Parasite that catapulted Bong into worldwide fame when he dominated the Academy Awards (for the record this is completely irrelevant in my appraisal of his work)
Bong’s films have social commentary, includes animal abuse, greedy corporations, police who abuse their power, entitled rich people, etc. However, characters in Bong’s films are complex unless they are intended to be almost cartoonishly over the top like the corporate characters in Okja
Parasite and Memories of Murder are his two best works clear cut. Mother is a fascinating film and an excellent one but still a cut below those two. And frankly deciding between those two for the top spot was not easy. Memories of Murder has superior compositions, the blocking is incredible, and the muted color palette establishes the bleak atmosphere. Parasite is superior in regard to writing; its screenplay is one of the best of the decade, but it also has a incredible dedication to its themes of class conflict with constant shots where characters are literally physically ascending or descending such as walking up or down stairs or steep streets. I will go with Parasite but it’s by the narrowest of margins
Bong’s films frequently use profiles shots, overhead shots, and close ups on characters faces. Characters in his films are often put through emotionally taxing situations and the profile shot and close ups effectively capture this. While his films are often intimate they are not told through the perspective of any one character, I think the overhead shots rather than POV shots further emphasize this
Even Bong’s weaker films can never be accused of being uninteresting or unengaging. His films demonstrate efficient storytelling, Bong is an excellent writer with some incredible screen plays. Most of his films are around 2 hours and the pacing is key as they never really stagnate but at the same time are patient in setting up the story
Bong’s set pieces are very impressive as you have the train in Snowpiercer which functions as a microcosm of a society, the Park Family House in Parasite, the apartment complex in Barking Dogs Never Bite, the river in The Host, amongst others
I am excited for Mickey 17 and to see how to stacks up with the rest of his filmography
Final Ranking and Grades:
MP
# 1 Parasite
# 2 Memories of Murder
MS
# 3 Mother
HR/MS
# 4 Snowpiercer
HR/R
# 5 The Host
R
# 6 Okja
# 7 Barking Dogs Never Bite
Parasite (2019)
Notes:
Bong uses 2.39 to 1 aspect ratio
Starts with shot through the windows of a housing unit that is literally underground, perfect framing using the window capturing the outside world
3:54 a thick layer of smog from streets invades the Kim Family residence
6:15 the Kim family celebrates with beers the small things like the “boundless Wi-Fi” haha
8 min the rock is so “metaphorical” repeated later
12:14 “so you’ve got a plan” this point is repeated throughout the film
12:50 shot of Kim Ki-woo literally walking uphill toward his meeting with the Park family
13:37 impeccable architectural design
14:19 introducing characters via magazine articles a la Rear Window
16:03 perfectly splitting of frame showing the actions of the Park family matriarch aka Mrs. Park and Park family maid simultaneously
20:02 nice foreground/background work as Kim Ki-woo face reacts to Mrs. Park words but with his back turned to her
27:28 Kim Ki-jung smartly kicks out the Parks Housekeeper, Gook Moon-gwang, as she is clearly more intelligent than Mr. Park
30:28 Ki-jung’s eyes reveal so much, just as before when Ki-woo’s eyes reveal an idea forming in his mind, similarly Ki-jung discovers an opportunity
40 min a great sequence over the next several minutes as the Kim family
41:23 Mr Kim literally elevated via an escalator
43:40 quick shot of the peach followed by a slow motion flick toward the housekeeper seconds later
46:36 the old housekeeper is literally walking down the road after being let go
50:56 Mr Kim literally elevating to a higher level as she now has the housekeeper job
53:17 the Kim family again toasts and drink beers now having all secured full-time jobs
56:47 painterly image of Kim family in backyard after full takeover of house
57:08 great use of glass door as a frame for shot of the Parks of the huge backyard
59 min Kim family drinking the Park’s expensive booze
1:00:20 Mr. Kim shows concern for the driver who they set up to be fired before them
1:03:17 great composition with Kim family’s party interrupted by old housekeeper ringing doorbell, showing the depth of the house as the Park family shown in left side of foreground
1:10:26 the lighting is notably different in these sequences
1:11:00 the old housekeeper is smart enough to figure out the scam
1:15:40 overhead shot of peaches onto old housekeeper
1:16:21 close up profile shot of Mrs. Kim upon learning the Park’s are returning and she has limited time to get house in order
1:17:16 faster average shot per second during the sequence of the Kim’s frantically cleaning the house as the Parks are on the verge of returning
1:19:56 extreme low angle shot in tight corridor showing the housekeeper’s husband attempting to use Morse Code by bashing his head on a light
1:22:01 another great example of matching narrative with style as memory of the old housekeeper’s husband slowly moving into the bottom of the frame and terrifying the youngest child of the Park family, again lower class character moving up in the frame
1:26:14 massive window used as frame, making use of 2.39 to 1 aspect ratio
1:32:48 Bong switches to long shot with an overhead shot of the Kim family literally running downhill to their home during a rainstorm
1:35:07 the orange/red tint throughout the frame stands as a contrast to the Park house
1:39:02 overhead shot with camera tracking Park family floating through the flooded streets
1:39:57 the “plan” dialogue again
1:52:28 the “metaphorical rock” returns
1:53:04 another instance of characters moving up and down stairs to indicate their social standing
1:53:30 shocking violence
1:55:12 Mr. Kim kills Mr. Park after Mr. Kim plugs nose
2:00:40 camera pans through basement revealing Mr. Kim’s location, in the cellar of the Park’s house
Thoughts:
Bong with a tremendous film that might be his very best and in my opinion one of the best screen plays of the decade. It is a tremendous narrative that touches on social issues, in particular class conflict, and is incredibly structured and filled with repeated motifs. Kim’s full takeover occurs almost It excels as satire, dark comedy, and even moves toward a thriller. There are no unnecessary scenes, everything has a purpose
Similar to his fellow countryman and filmmaker Park Chan Wook, Bong’s ability to shift tone in a way that is almost imperceptible, is at master level. The 2nd half of 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
The framing of shots using the front windows of the Kim and Park homes shows the stark difference in their living situation, same with the lighting. I love the use of a sepia like color that is used during the flood outside the Kim Family’s home. So many of the shots inside the Park Family’s home are perfectly symmetrical. There are several scenes where Bong divides the frame showing characters who are both technically in the frame but are acting independently of each other
Characters are frequently shown literally walking/moving up or down whether it’s the street, stairs, or escalators. Brilliant that Kim family literally lives below ground level, there is an extended overhead shot of the Parks literally running down the street and down a series of steps to their flooded house. There are also many shots of characters talking to or looking at each other literally on different levels, whether it is staircases, steps, hills, etc.
The sequence from approximately 40 -45 minute is probably my favorite as the Kim family plans, practices, and executes their plan to get the current housekeeper fired and replace her with Mrs. Kim making their takeover complete occurs about halfway through the film
The acting is tremendous throughout, not a single performance that I did not like. The characters are nuanced as well, the Kim family serve as the film’s protagonists, and you can sympathize with even though they essentially become con artists over the course of the film. The Park family are not presented as bad people by any means, they just live in a bubble
Bong uses slow motion during the explosion of violence at the end of the film and his overhead shots several times throughout the film
The ending was brilliant with Mr. Kim now in the cellar as he is now the one using Morse Code
Verdict: MP
Okja (2017)
Notes:
Starts with Tilton Swinton character, Lucy Mirando, as CEO of huge corporation
An all-star cast features Steven Yeun and Paul Dano animal rights activists, Jake Gyllenhaal character as a disturbed zoologist and TV personality, Giancarlo Esposito as corporate executive
6:53 large aminated creature that seems like a mix between a pig, hippo, and elephant
A 13 year old girl Mija develops a bond with Okja that resembles ET (1982), this girl lives in farm area
with her grandfather Heebong
8 min overhead shot with Mija hanging onto cliff
21 min Jake Gyllenhaal character
34:16 overhead shot of crowd walking up steps
34 min Mija breaking into corporate office
39:15 overhead shot followed by a higher overhead shot of the city
44 min a pink/orange tint used during tunnel sequence where Mija is reunited with Okja
45:30 shaky camera during chase sequence
46:48 sound cuts out temporarily followed by slow motion as Animal Rights Organization makes their getaway from the mall
50:25 Steven Yeun and Paul Dano characters reveal themselves to Mija
1:00:48 I like this composition with Miranda facing away from everyone on the far side of the frame in the clean corporate office
1:01:14 low angle shallow focus shot
1:10:00 nice wide angle shot and the frame in frame
1:10:33 creative framing followed by series of dissolves
1:15:50 another great overhead shot this inside dimly lit warehouse with Gyllenhaal’s character isolated with Okja
1:20:20 nice splitting of frame and use of windows to frame the shot
1:39:43 overhead shot symmetrical horizontally
1:34:00 another great chase sequence
1:34:48 slow motion violence before escape
1:43:00 blue tinted frame in slaughterhouse, cold atmosphere
1:49:44 repeat of shot from early in film
Thoughts:
Bong mixes animation, science fiction, and action into a unique film. Unfortunately, this is in some ways a flaw, not that it is unique but rather a bit of a mess albeit an enjoyable one. Another issue is that the social themes go beyond satire into preachy territory. Snowpiercer (2013) does not go quite that far and can be labeled as an allegory and or satire. Same with The Host (2006) but here we get long speeches about corporate greed and animal rights issues that can be a bit much
With that said there is plenty to appreciate as the film never grows stagnant, the narrative moves along smoothly with some great action and chase scenes. Bong uses some great overhead shots during a couple of the chase sequences, Bong seems to like these shots in general as he uses them in all of his films, often preceding action sequences
The film boats a ridiculous cast, Tilda Swinton is amazing as always, Giancarlo Esposito is overqualified for his role and Jake Gyllenhaal (one of my favorite actors) did not quite work for me. Ahn Seo-hyun is excellent as her character’s relationship with Okja is the emotional core of the film
Verdict: R
Okja (2017)
Notes:
Starts with Tilton Swinton character, Lucy Mirando, as CEO of huge corporation
An all-star cast features Steven Yeun and Paul Dano animal rights activists, Jake Gyllenhaal character as a disturbed zoologist and TV personality, Giancarlo Esposito as corporate executive
6:53 large aminated creature that seems like a mix between a pig, hippo, and elephant
A 13 year old girl Mija develops a bond with Okja that resembles ET (1982), this girl lives in farm area
with her grandfather Heebong
8 min overhead shot with Mija hanging onto cliff
21 min Jake Gyllenhaal character
34:16 overhead shot of crowd walking up steps
34 min Mija breaking into corporate office
39:15 overhead shot followed by a higher overhead shot of the city
44 min a pink/orange tint used during tunnel sequence where Mija is reunited with Okja
45:30 shaky camera during chase sequence
46:48 sound cuts out temporarily followed by slow motion as Animal Rights Organization makes their getaway from the mall
50:25 Steven Yeun and Paul Dano characters reveal themselves to Mija
1:00:48 I like this composition with Miranda facing away from everyone on the far side of the frame in the clean corporate office
1:01:14 low angle shallow focus shot
1:10:00 nice wide angle shot and the frame in frame
1:10:33 creative framing followed by series of dissolves
1:15:50 another great overhead shot this inside dimly lit warehouse with Gyllenhaal’s character isolated with Okja
1:20:20 nice splitting of frame and use of windows to frame the shot
1:39:43 overhead shot symmetrical horizontally
1:34:00 another great chase sequence
1:34:48 slow motion violence before escape
1:43:00 blue tinted frame in slaughterhouse, cold atmosphere
1:49:44 repeat of shot from early in film
Thoughts:
Bong mixes animation, science fiction, and action into a unique film. Unfortunately, this is in some ways a flaw, not that it is unique but rather a bit of a mess albeit an enjoyable one. Another issue is that the social themes go beyond satire into preachy territory. Snowpiercer (2013) does not go quite that far and can be labeled as an allegory and or satire. Same with The Host (2006) but here we get long speeches about corporate greed and animal rights issues that can be a bit much
With that said there is plenty to appreciate as the film never grows stagnant, the narrative moves along smoothly with some great action and chase scenes. Bong uses some great overhead shots during a couple of the chase sequences, Bong seems to like these shots in general as he uses them in all of his films, often preceding action sequences
The film boats a ridiculous cast, Tilda Swinton is amazing as always, Giancarlo Esposito is overqualified for his role and Jake Gyllenhaal (one of my favorite actors) did not quite work for me. Ahn Seo-hyun is excellent as her character’s relationship with Okja is the emotional core of the film
Verdict: R
Snowpiercer (2013)
Notes:
Starts with explanation as to the current state of the film’s world in which an ice age has destroyed most of the world and killed off almost all of the human population except for a small group that lives I a train that circles the world endlessly
4:10 dimly lit shot of armed guards speaking to the bottom class of the train that is divided into a sort of caste system
9:00 shot of exterior of the train, a dark blue filling the frame aside from the train covered in snow
11:26 profile shot of the protagonist Curtis Everett, played by Chris Evans
12:38 overhead shot in tight frame, claustrophobic atmosphere
13:36 woman in saturated yellow shirt standing out in muted color palette used thus far
16:44 Tilda Swinton as Mason, gives speech to onlooking lower class while a dissenter is displayed being tortured as he is forced to put arm outside of train
19:03 shallow focus as lower class shown as a blur
23 min Curtis and Gilliam (John Hurt) consider a possibility that guards don’t actually have bullets in their guns
27 min great building of tension with frames filled to the brim with increasingly tired, hungry, and angry lower class
27:52 action packed revolt sequence includes use of slow motion, shaky camera, and fast cutting
30:08 Song Kang-ho character introduced with inverted face shot
31:44 surveillance angle shot
36:16 tracking shot of the outside from point of view from within the train
41:42 amazing shot with frame packed with lower caste in foreground mainly in silhouette and the rest of frame filled with rows of guards in black uniforms and faces concealed by black masks
42:50 slow motion gutting of fish as intimidation tactic
46:15 some great black comedy with guards declaring Happy New Year
46:32 train hits iceberg
52 min green light night vision sequence
52:26 orange light from fire of torches guards holding with blurry image in wild fight scene that was all sound cut out for periods of time
1:04:02 nice tracking shot as a number of lower caste characters move to the front of the train
1:04:55 beautiful shot of aquarium
1:10:00 hilarious propaganda video
1:15:37 POV atop exterior of train
1:16:20 another tracking shot through upper class section
1:18:33 shaky camera to build tension
1:19:00 fight inside the yellow room
1:24:35 bright lights and club music as Curtis makes his way through in slow motion with partially muted sequences
1:27:35 close up on “Wilford Industries” symbol, it feels like the final Boss in a video game
1:37:16 face to face with Wilford played by Ed Harris
1:37:36 teal colored metal set piece
1:40:32 profile shots
1:45:40 gorgeous shot of the Eternal Engine, a teal colored circular image
1:46:38 close up on Wilford’s face with shallow focus
1:57:39 canted angle shot following wreckage
Thoughts:
Bong’s first feature film in English, mainly English anyhow as there are some non-English speaking characters, most notably the character played by the great Song Kang-ho
Brilliant world creating on display as Bong manages to create a microcosm of society, what a miraculous set piece, I love the teal colored Eternal Engine
The use of muted colors is contrasted with more saturated colors and primary colors as the characters move closer to the front of the train which of course is a representation of a higher social status but also more emotionally charged scenarios like the fight in the yellow room and the neon colors in a night club atmosphere
Several great tracking shots through the train, these sequences are exciting not only due to the visuals but also the mysterious nature of what lies ahead as the narrative is told through the perspective of the lowest class moving toward the head of the train which is of course the highest social class
There is some humor with the propaganda taught to a classroom of young children about Wilford, another humorous scene revolves around a New Years announcement during a violent battle
Children of Men (2006) seems like a possible influence with the dystopian world the film occupies and the themes of revolution and caste systems. Fritz Lang’s Metropolis (1927) would be another possible influence with the delineated social classes. Ed Harris as Wilford is a brilliant bit of casting, he played a similar all powerful, master of the universe type character in The Truman Show (1998)
This is impressive cinema start to finish
Verdict: HR/MS
Mother (2009)
Notes:
Starts with strange scene in which an older woman, referred to only as Mother, wearing blue and purple clothes walking through wheat field and starts dancing set to (non-diegetic) instrumentals
3:53 deep focus shot using door as frame
5 min the older woman’s son, Do-joon, is victim of hit and run though his injuries are minor. Do-joon has a learning disability though he is relatively high functioning
7:03 profile shot of Do-joon next to water in golf course
11:23 close up on Do-joon face after being called slur right before acting out violently
14:55 medium shot to long shot with Mother a small figure next to building
16:14 frame goes from blue to red with profile shot of Do-joon
17:43 great blocking and close up with two characters heads taking up most of the frame
20:30 deep focus shot using door as frame
21:07 overhead shot of Mother lying in bed, Bong holds shot as Do-joon lies next to her and continues to hold until a slow dissolve showing dead girl on left side of frame
25:05 repeat of sequence from first 5 minutes when Mother chases after Do-joon entering car
25:33 impressive shallow focus shot with Mother chasing police car that picked up Do-joon with Mother in foreground wearing red and the rest of frame a blue tint
30:10 profile shots used during police interrogation
37:33 shadow of Mother
35:08 close up on Mother’s face held as she is told Do-joon is going to prison and there is no changing it, a devastated look on Mother’s face taking up right half of frame
37:01 high angle shot of Mother in center of frame in graveyard
40:09 graveyard turns to soft focus with mother in right side of frame in close up
41:11 multiple frame in frames in shot inside jail Do-joon is held at
51 min voyeurism although accidental voyeurism with Mother intending to speak of Do-joon’s only friend, Jin-tae who happens to be with a girl at the time
54:36 another long shot of Mother walking through landscape
56:12 two shot with characters positioned in profile
58:28 Mother sits down at restaurant empty except for the top tier defense attorney who blew Mother off previously after seeing Do-joon in person
1:00:07 hilarious scene with the top tier lawyer announcing his legal team with a microphone like the introductions right before the start of an NBA game
1:03:20 frame in frame with dark blue tint
1:07:08 shot overlooking the village from a rooftop
1:12:03 close up on Do-joon who has a revelation from a repressed memory from when he was five, in which Mother once tried to commit a murder suicide
1:13:56 another multiple frame in frame shots following Do-joon rejecting his mother
1:14:33 another shot of landscape which Mother riding a bus
1:24:14 high angle shot followed by low angle shot, showing power dynamic
1:24:48 Mother’s head taking up half the frame
1:30:07 camera pan across screen connecting scenes of Do-joon and Mother
1:33:37 close up on face’s in shot reverse shot
1:34:21 another long shot with Mother walking across field
1:39:26 great composition with both characters in separate frames within the frame
1:40:00 Do-joon almost completely blurred image before committing an act of violence after an insult
1:42:42 shocking act of violence, this is incredible scene in general
1:43:43 overhead shot of cleaning crime scene
1:48:08 slow tracking shot in forest area with Mother lying down
1:49:05 tracking shot of Mother walking through the same wheat field except the camera is now tracking her from her back rather than long shot so a breaking of pattern
1:53:12 blurred image of man arrested after Do-joon set free, Mother asks him “Have you got a mom?”
1:54:24 the frame in frame shot again, 3rd time in film
1:59:24 shocking moment with Do-joon returning evidence from crime scene, both are now murderers and Mother cannot deal with it and walks away
2:01:52 Mother dancing inside bus as silhouette image with beam of sun flashing across the screen
Thoughts:
Bong with his usual blend of drama and dark comedy in a film that feels unlike any other film I have seen; it is a who done it mystery with elements of family drama and slow burn thriller
In an interview regarding this film, Bong referenced none other than the Master of Suspense himself, the great Alfred Hitchcock and the connections are there as this is a psychological thriller with a possible “innocent man convicted of crime he did not do” scenario as well as a strange mother/son relationship that calls back Psycho (1960)
Bong seems to like profile shots, especially close up profile shots which he uses throughout the film. He also holds a lot of his shots for extended periods of time including some of the more tense moments. Close up shots are used frequently as well
There is a great matching of style and narrative as Bong uses long shots and high angle shots of Mother walking through landscapes, fields, etc. in which she is the only person in the frame. Mother is on a one woman mission to exonerate her son despite the pushback from most of the town where she’s become somewhat of a pariah
Another matching of style and narrative is the use of color in regard to Mother’s clothes which are always different from everyone else around her in scenes she shares with other characters
There is an amazing shot using frame in frames in the prison that is similar to the swing sequence from Kurasawa’s Ikiru (1952). There are some amazing compositions like the one at 1:39:25, this is just before the murder is revealed.
The entire flashback revealing how the murder went down is shocking yet this leads to another murder in the present timeline that is even more shocking and more intimate with a low angle shot with the character’s face in close up while committing the act of violence
Bong’s characters are complex and the character who is only referred to simply as “Mother” as definitely a complex character as you obviously feel for her dilemma and root for her success in her mission of clearing her son’s name, but she is revealed to have done a terrible thing in the past and does something shocking late in the film. Kim Hye-ja gives a brilliant performance, I love that her character is never given a name aside from “Mother” as that is her sole identity here, as a mother of a son with no real friends she is all he has, his full time advocate who acts like a full time private detective and lawyer working a single case
The strange bookend of Mother dancing in the open field is bold choice with multiple interpretations
Verdict: MS
The Host (2006)
Notes:
Starts in year 2000 inside a blue/gray tinted lab, an American pathologist working in the lab orders his Korean assistant to dump excess bottles of a toxic chemical in the river
3:24 tracking shot of empty bottles and dissolve to shot of 2 fisherman in river
5:25 extreme close up on anguished face of the assistant who jumps in river
6:45 story moves to 2006
9:35 Sang Kang-ho character spending time with his daughter
12:04 large green reptile like species seen in the river by group so people huddled around the river bank
14 min large creature chasing horrified people running away
19:15 slow motion with sound muted as little girl is kidnapped by the Monster who returns to the river
26:10 low angle shot of man in yellow hazmat suit walking around gym holding microphone while gases start entering the facility
28:00 all out panic due to concerns of pandemic, shots in tighter and more confined spaces including inside of ambulance
32:20 dark blue tint during gloomy rainy day
33:21 nice tracking shot of creature calmly swimming under bridge34:25 slow zoom out reveals young girl from earlier to still be alive inside the creature
50:10 silhouette image under tunnel with exit tunnel visible in the background of frame
54 min Bong holds shot of family eating dinner, first reprieve from action as the story has moved fast
56:32 high angle shot from Monster POV
1:01:05 narrow frame used to fire gun at Monster
1:03:15 frame within frames under the bridge
1:04:47 profile reaction shot
1:12:00 great escape sequence as Nam-il old college buddy sets him up for the bounty money
1:15:39 overheads shot on Nam-il followed by a slow zoom in as the exhausted Nam-il falls asleep
1:17:07 tracking shot using bridge as set piece
1:18:04 tracking shot of silhouette image
1:18:51 canted angle shortly before Hyun-seo is knocked down by the Monster
1:20:36 distorted image from Sang Kang-ho character POV as he is given a shot to knock him out
1:25:25 overhead shot held as Sang Kang-ho’s character gets a lobotomy having accidentally learning secret government information that there is no virus
1:38:28 Bong holds the shot of a terrified Hyun-seo aligning fear with audience
1:39:46 this film is certainly not Stalker (1979) but hard not to think of Stalker in this shot
1:43:18 agent yellow released, gas dispersed throughout frame
1:45:05 slow motion sequence during the films emotional climax
1:48:33 archery saves the day
Thoughts:
Bong’s Monster Movie is definitely a step back from Memories of Murder but none the less a thrilling film that rarely lets up
There is a series of tracking shots starting around the 78 min mark which includes a long shot Hyun-seo running which turns into a silhouette image and eventually a shot from behind using a canted angle before she is again face to face with the Monster, the sequence captures the frantic energy of the moment
There were a number of tracking shots, several involved characters running along bodies of water parallel to the Monster
The social commentary is obvious, maybe a little too on the nose at times
Bong uses slow motion during several scenes involving the Monster, he seems to like slow motion in general during intense sequences. I do like Bong’s use of canted angles in emotionally stressful situations. I like the use of archery to defeat the Monster as Nam-joo is introduced as a national medalist in archery early in the film
There are some great chase sequences, not only involving the Monster but also government officials chasing down citizens
Verdict: R/HR
Memories of Murder (2003)
Notes:
Starts in a wheat field, the great Song Kang Ho appears playing Inspector Park Doo-Man, the main story is set around 1986
3:23 shot come into focus with Park looking at body of a murdered young girl, Park stares down the boy who found the body
4:44 a painterly shot of opening titles shot, reminds me of Ran (1985)
Around 5 min and after opening title film changes color palette using mute colors almost like Breaking the Waves (1996) as it uses darker green and gray shades, less saturated colors
13 min green/gray/brown color palette
14:54 one of the best images in the film with the detective walking in empty field near the site where the first body was discovered with camera moving in on the scarecrow
15:50 Song Kang with the ad lib drop kick on his new partner who he obviously did not realize was a police officer
18 min the new officer is acclimated to the office as he was brought in from Seoul
27:04 great low angle shot of detectives and patsy in the field at the crime scene (cover shot)
29 min dissolve edit to investigator talking shop at station
33:30 great blocking with detectives and chief out in the field in medium close ups
39 min Bong must have a thing for Karaoke, he has Karaoke scenes in a number of his films
43:30 overhead shot of young woman walking during a raining night wearing red clothing
45 min surveillance angle shot, woman in red stands out in a film with muted color palette
49:40 great blocking in low angle shot of 4 investigators filling the frame
50:18 close up profile shot
55:44 investigator at top corner of frame looking down on mound of garbage
1:06:40 slow motion zooms to identify the suspect out in the field proceeding the chase
1:09:55 brilliant low angle shot of investigators talking shop in narrow dimly lit staircase
1:18:20 camera placed low in field
1:19:57 close up profile shot taking up half of frame
1:21:38 great dissolve edit from field to inside of car
1:28:10 investigators shown in long shot, look small and insignificant approaching factory
1:34:00 detectives falling apart from the Case
1:37:55 the violence that erupts in this scene and others is quick and brutal, not carefully choreographed like a typical Hollywood movie
1:39:29 high angle shot of detectives trying to talk their previous suspect (who they now consider to be a witness) of harming himself
1:47:00 Park learns his buddy and colleague will need to have leg amputated from the infection
1:47:48 close up on Park’s face with shallow focus background
1:54:00 close up shots on devastated investigators upon discovering yet another murder victim on a raining day
1:56:52 one of the best shots of the film, detective standing in background of frame over beaten murder suspect lying on train track near tunnel
1:57:10 overhead shot of detective viciously beating suspect
1:59:30 detectives learn forensic documents from the US indicate suspect is not their guy
2:03:08 a sort of epilogue as story moves from 1986 to 2003 and Park is now a businessman with a wife and kids
2:04:30 Park walking in wheat fields from the film’s opening scene
2:06:34 Park learns the Murderer had been around and a young girl got a look at him
2:07:54 the film ends with Park breaking the 4th Wall with his stare
Thoughts:
This is a fascinating film and similar to David Fincher’s Zodiac (2007) it is far more than just a crime procedural; it is a character study and a mediation on obsession, and of course like Zodiac we get no resolution
The investigators are presented not just as incompetent buffoons but physically abusive to suspects. But they are also shown in a sympathetic light as well. There is an intimacy with this film, as if we are living with the characters. We not only see them working to solve the crimes but all the stuff happening in between from meals to them drinking heavily at night
Bong uses close ups effectively throughout the film, showing the weight of the investigation on everyone involved. A number of the close up shots are profile shots. The blocking and framing of characters are especially impressive and reinforces the afore mentioned intimacy of these investigators who are living and breathing the case day and night
There is a bar fight around the 97 minute mark, that serves as a culmination of the investigator’s frustration with the case. The fight is raw and spontaneous, not carefully choreographed like a typical Hollywood movie
Bong intentionally uses very few primary colors, instead opting to use grab colors such as gray and dark green. The only scenes with bright colors are the opening and closing scenes which feature the bright yellow wheat fields
There is an impressive consistency throughout the film but also some standout shots like the one at 14:54 with the detective from Seoul approaching the small town with the scarecrow in the foreground. At 1:56:52 there is a brilliant silhouette shot of the detective from Seoul standing over the suspect near the point where the train track exits the tunnel. There are certainly many others, but I love those two especially
Humor throughout the film, Bong can mix humor with dark subject matter as well as anyone, perhaps the funniest scene occurs early on when Song drop kicks his new partner as he mistakes him for a man assaulting a woman when he’s actually helping her. Apparently, this drop kick was completely improvised. Great scene around 28 min where the investigators are trying to have Kwang-ho reenact the crimes (before they realized he was innocent) in front of reporters and other onlookers and they mess up; this scene might as well be a microcosm of the entire situation as the film demonstrates the ineptitude of the small-town police department
The bookend was great in the bright wheat field, effectively distinguishing itself from the muted color palette of the majority of the film. I loved the final shot of Song Kang-Ho character breaking the 4th wall not with words but with his stare
Verdict: MP
Barking Dogs Never Bite (2000)
Notes:
Starts with 30 something year old unemployed academic Ko Yun-ju living with pregnant girlfriend and who wants to be a professor
3:13 over shoulder high angle shot of dog barking in hallway of apartment building followed by a low angle POV shot from dog’s view looking at Ko
3:33 camera drops back to long shot of Ko chasing dog
8 min title opening credits with jazz score
13:37 little girl drops off missing dog poster
16:50 canted angle with table horizontally splitting frame with girlfriend in upper frame and professor in bottom doing what his girlfriend orders to do
21:07 Dark red tinted frame with Dean whose face is in soft focus at back of frame with close up on a glass he is holding in foreground, the drink is fizzling like in Schrader’s First Reformed
21:30 neon green throughout frame
27:36 dog from opening found in basement closet
28:46 narrow frame using closet doors with man holding knife approaching
30:16 overhead shot is dimly lit room
40 min characters in dimly lit and isolated areas
42:34 red and white is mise en scene in this shot as girl alerts neighbors of missing dogs
50:04 slow motion followed by long shot of dog thrown off the roof
52:26 switch to long shot of young woman named Park Hyun-nam chasing Ko after witnessing him throw a dog off the roof, this same shot is used at the 3:33 mark with Ko chasing after dog
53:29 high slightly canted angle, frame split horizontally showing characters on different levels of apartment building’s balcony
56:02 Ko learns his girlfriend bought a dog
1:06:36 overhead shot of Ko and his girlfriend lying in bed only his girlfriend’s back is turned on Ko and she is more interested in her dog
1:10:27 wide angle shot Ko and dog are disappear into a thick cloud of smoke
1:11:41 extreme close up with camera placed over Ko’s right shoulder
1:14:55 best shot so far, after throwing hammer through window in frustration, shot using fractured window as frame with soft focus of Ko and his girlfriend inside apartment
1:16:17 similar shot to one in WWK Chungking Express (1994), shot of market at night with bright lights
1:18:00 despondent Ko looking for his girlfriend’s dog
1:26:52 shaky camera used a couple times during the scene
1:27:38 fantasy scene with Park Hyun-nam seeing imaginary fans cheering her on
1:31:57 slow motion shot as Park Hyun-nam returns Ko his girlfriend’s dog while the innocent homeless man who has been living in the basement of apartment building is arrested
1:37:30 shot of Ko having dinner with Dean after being accepted as a professor as the Dean reaches out with a glass fizzling, this resembling a shot form earlier in the film
1:42:30 synthetically created chase scene used to create significant reveal at the end of the film, a reveal for the characters in the film not the films audience as Ko confesses to Park Hyun-nam
Thoughts:
Bong’s talent for mixing of dark comedy and drama is evident from this debut even if there are certainly much stronger films to come
Bong uses slow motion several times including a particularly memorable long shot, he also uses a handheld shaky camera effect, neon lighting, overhead shot, and other stylized shots
There is a nice formal touch at 52:26 when the camera drops back to a long shot of girl chasing Ko after witnessing him throw a dog off the roof, this same shot is used at the 3:33 mark with Ko chasing after dog. A modified version of this chase sequence is used as Ko confesses to Park Hyun-nam
Bong splits frames horizontally several times including a shot showing characters in close proximity but on different floors of the exterior balcony of the apartment building
A solid start for Bong
Verdict: R
@Drake – Have you seen Bong’s debut feature, Barking Dogs Never Bite (2000)?
Hey Drake, curious what the updated grades are for Joon Ho
Is Song Kang-ho in contention for your actors list? To make a case for him, he is incredible in both Memories of Murder and Parasite which are both MS now, along with Host and Snowpiercer.
Also with your recent Park Chan-wook study I hope JSA and Thirst are also in archives now along with Mr. Vengeance which you now grade as MP.
He has also appeared in some Lee Chang Dong (Green Fish and Secret Sunshine) and Kim Jee-woon (The Good, the Bad, the Wierd and Age of Shadows) films.
@Alt Mash- Thanks for the comment- I’m not going to reveal the list until I reveal the list. But certainly Song Kang-ho is an accomplished actor
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?
@James Trapp- Thank you for the help here
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.
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.
@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.
Love Memories of Murder. A MS in my Book. The cinematography, the acting, the story. Great movie.
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.