INTRODUCTION
2011 saw the release of Kurosawa’s
Way, a documentary on the famed and legendary director Akira Kurosawa. In
that documentary, Director Bong Joon Ho discusses his love of Kurosawa as a
director, and cites Kurosawa’s 1963 crime thriller High and Low as his favorite. He gives the example of how Kurosawa executes his use of
space as almost a separate character which Bong uses as a source of inspiration. This inspiration sparked in 2013 when
Director Bong first had his idea for his 2019 film, Parasite. However, upon closer
examination, we can see that High and Low acts as more than just a
general inspiration upon Parasite, it shares a complex analysis and portrait of social class that make these two films a
cinematic Gemini[1].
PLOT
Released in 1963,
Kurosawa’s High and Low is one of the few films that he is known for
that is set in “modern day” Japan. The
plot revolves around Mr. Gondo (Tashiro Mifune), a wealthy Shoe Manufacturing
executive who is planning to risk everything to buy a controlling interest in the
company for whom he works. Before he can finalize this plan, the son of his
driver is kidnapped. The first half of
the film (brilliantly set in one location mirroring the blocking of a theater production)
is Gondo wrestling with the decision to pay the ransom or let the child die
and finalize his business deal; the second half of the film deals with the fall
out of his decision.
Set in Modern day South
Korea, Parasite centers around the Kim family in their attempt to survive
in Seoul. The Eldest son Ki-woo (Woo-sik Choi) gets an opportunity to tutor a
wealthy high schooler and sets in motion an elaborate confidence scheme in
order to support his family. The first
half of the film unfolds methodically as the Kim family insert themselves into
the lives of upper-class Park family. The Second half of the film provides revelations
and complications that end in violence and blood.
HISTORICAL ANALYSIS
In order to identify the
importance of each of these films and thus begin to understand how these films
can be linked together, we must look at the way in which each of these films are
a cultural product of the time period in which they were created. By doing that,
we will be able to better comprehend both the impact of the film, and the
reason for a lot of their specific social commentary that becomes thematic in
each director’s work
The Japan of the 1960’s
was a time of great creativity in Tokyo[2]. From architecture to the
theatrical arts, these new types of representation were shattering the stereotypes
of Japanese people. Much of this was fueled by the consumption of popular
culture from the United States which provided a revolutionary spirit of the
various civil rights movements going on there at the time. There was also a
social and political upheaval of assassinations and a strong development of a
right wing socialist party. The culmination of which was a cultural snuffing
out of Japanese modernism which left individuals “incorporated, defected or dead”[3] Much of the revolutionary
spirit of the rising counter culture was eliminated through bureaucratic
assimilation what was once a aversion to the standard became the standard in a
few years.
This is paralleled in the
public’s response to Kurosawa. In the early 1950’s during the reconstruction
period of post war Japan, Kurosawa was consistently criticized for his western
influences specifically John Ford, Shakespeare, Dostoevsky and Fritz Lang. The
idea being that he had lost a lot of the traditional focus of Japanese cinema
that was coming out of the Kabuki theater and involved a lot of elaborate
costumes and dynamic acting. In contrast, Kurosawa’s films at the time were full of
more stoic characters. However, in years since, Kurosawa’s influence is both widespread
and cross cultural. To a director making
films today, Kurosawa is a part of the filmmaking establishment. He is taught
in film schools, and his techniques and craft have become the benchmark for
quality cinema. Director Bong is just one of the many modern directors being
influenced by Kurosawa.
Bong Joon Ho’s “Parasite”
Bong Joon Ho’s Parasite
was directly influenced by the historical, and film context of South Korea
citing the 1960’s South Korean film The Housemaid, as a major influence;
both being described as “domestic Gothic” films[4] In fact the success of Parasite marks the 100th
anniversary of the South Korean film industry. Ironically, with all the accolades
deservingly being heaped upon the film[5], along with the near
unanimous critical praise[6], Parasite stands as
a pioneer, ushering in the next 100 years of South Korean film history. It is
clear with the overwhelming impact of the film that, like Kurosawa, Bong
Joon-Ho will soon be a part of the standard filmmaking curriculum as more and
more people go back and rediscover his previous work (which is equally amazing[7]) and waiting with bated
breath to see what he does next.
SOCIAL ANALYSIS
The main thematic element
that links High and Low with Parasite is the way each film is a
reflection of, and provides commentary for, social class in their respective cultures.
The parallels between these two films identifies the realities of global
capitalism which causes cross cultural stratification. To that end, a simple triple
threat of Marxian, Weberian and Bordieuan analysis will be used in talking about
each film.
Brief Theoretical
Interlude
Marxism
Marxian class analysis is based on conflict.
Historically[8],
that conflict has been identified by Marx and his denizens as being between the
Bourgeoisie and the Proletariat[9] Essentially the bifurcation
of this class system is based around who has ownership of the mode of production[10] Those that have control
over the mode of production (Bourgeoise) have control and power within the
system. Admittedly, this is a very specific and small group that has the
ability to control the labor power of others and gain capital ($) from it[11]. The rest of society (Proletariat)
only have their labor to sell for a given wage and is therefore subjugated by
the upper class.
Weber
Max Weber brought in ideas
of status and power into the conversation about social class. Economic power[12], is just one mechanism of
societal power that leads to stratification and domination. Social class for
Weber is determined not just by wealth or access to resources, but also by one’s
level of education, their access to ownership of property (which allows them
to control and or navigate through economic markets), and the social value of their occupation often
referred to as prestige which can translate into accessing political power
thereby solidifying stratification through the passage of laws and other
regulations.
Bourdieu
French Sociologist Pierre
Bourdieu adds variety to the concept of capital along with the notions of habitus and “taste”. For Bourdieu, financial capital
($) is just one of the types of capital in determining social class. Bourdieu also
includes cultural[13] and social[14] forms of capital (basically
what you know and who you know) that also help to determine a person’s social
class status. Habitus is the internalized
norms and values (through the process of socialization) that allow social mobility
to be possible. Thus, the internalization of certain norms and values (such as
how one responds to authority[15]) that creates avenues or
barriers to upward social mobility. This habitus creates “taste” which Bourdieu
uses to represent a social class position. For example, a person’s “taste” in
clothing, movies, music and food often reflect their social class position or
upbringing[16]
(Kraft Mac and Cheese vs Gourmet Homemade Mac and Cheese with truffle oil represent
a class differences).
Kurosawa’s
“High and Low”
“Heaven isn’t always
found somewhere up high.”- Akira Kurosawa
Kurosawa’s High and
Low is an adaptation of “Kings Ransom” by Ed McBain. The basic premise of
the film asks a question about humanity and social class. “Is Blackmail
possible regardless of who is kidnapped.”. This was a note found in Kurosawa’s
production notebook[17] In the film while Gondo’s
son is the intended target the wrong child is taken. Thus, the child that was
taken (belonging to Gondo’s driver) seemingly has no clear and direct economic
value. Thus, Kurosawa, in this set up, is asking us to put a price on a human
life regardless of class status.
Kurosawa being a visual director, continues his
commentary on social class with the geography of his story. The first half of
the film we are treated to the Bourgeoisie of Mr. Gondo and his family the
setting never exiting the very wealthy high rise in which he lives. The opening
power play for controlling interest in the company illustrates the importance
of space. It is in these isolated dwellings of the elite where these deals
are made. Yet, Kurosawa again asks us to challenge these ideas. The beginning of
this scene we sense that Mr. Gondo is not completely on board with the
profit first mindset of capitalism. Kurosawa writes Gondo in a far more
practical frame of mind; desiring quality (railing against poor construction of
shoes) over profit. While this is an anti-capitalist message, this is
more a product of the cultural norms of Japan, where person’s honor is wrapped
up in what they do. Therefore, what they produce must be done honestly and with
integrity.[18]
Still, if these conditions are met, than making money is also desired.
During the second half of the film, we
descend from the segregated elite space to one of the lower class in search of the
kidnapper. Here Kurosawa visually represents a lot of the social problems that thrive
with a lack of financial capital (drugs, crime, unemployment, overcrowding). He also uses sets and locations that are physically cramped to convey this class based claustrophobia. Once the kidnapper is apprehended, he identifies that
it was the constant reminder of class stratification represented by Gondo’s hilltop
property, which reinforced the poor kidnapper's sense of worthlessness. Thus it was this Weberian
symbol of class division (Gondo's home) that lead him to commit crime.
Bong Joon Ho’s “Parasite”
“Regardless of country,
we all live in one big nation of Capitalism” -Bong Joon-Ho
Director Bong Joon-Ho majored
in Sociology at Yeonsei University. Because of this, all of his films are written to embrace the sociological perspective. In a previous post I wrote about the
sociological impact and analysis of his previous film SnowPiercer.
Yet, in Parasite, director Bong is the most direct in his sociological
analysis and criticism of classism. This
begins with the film's title. The title is a reference to both the Proletariat (The Kim family
who are reliant on the wealth and status of the Park family) and the Bourgeoisie
(The Park family who are dependent on the labor that the Kim family provides
for their livelihood). In addition, there is also the housekeeper and her husband
that are literally living off of the Parks (living in their house and eating their
food). All of the characters are one form of parasite or another.
Like Kurosawa, Bong
Joon-Ho takes a lot of time laying out the geography of social class stratification.
To reach the Parks family, the Kim family literally needs to ascend staircases,
steep roadways and hills. Later in the film, this stratification is again is perfectly illustrated through the use of rain. To the Parks the
rain is a welcomed respite; a divine cleansing of the city that eliminates the dirty
sullied individuals and purifies their streets. For the Kim family, the rain is a flood
of biblical proportions that destroys their very lives. Yet, this is a loss that
is not recognized by the Parks. Even when Mr. Kim realizes that both him and
Mr. Park are the same; that they are both “trying to do there best”. This sentiment is not
reciprocated by Mr. Park who only sees Mr. Kim as a source of labor, not as person, only a commodity. A sentiment that causes his death.
The relationship between
the Kim Family and the Housekeeper and her husband echo the Marxian idea of
alienation. One aspect of alienation that Marx talks about is the alienation
that workers experience from each other. Consistently, in a capitalist system,
workers are placed in competition with each other. This competition is a strategic
tactic used to fracture the power of the working class by teaching them to
ignore the similarities they have with their fellow worker, instead only seeing
them as a threat. This is illustrated beautifully in the film when the Kim
family and their “competition” commit horrific acts of violence against one another; culminating in several deaths. This violence is sudden and shocking; one born of desperation, anguish and pain. Unfortunately, it is through this violence
that the unequal system is maintained.
While some analyses of
this film point to the flash forward as a hopeful sign of the ability, through
education and perseverance, to have upward social mobility; Bong Joon -Ho had
always maintained that this was a fantasy.
“Bong
could have ended the film on that note of dreamlike ambiguity, but instead he
returns to the half-basement where the movie started, descending from the
cramped window space down to Ki-woo writing the letter to his father. There is
no mistaking what the reality is. His desire to continue striving is Sisyphean
and is the boulder that will eventually crush him. Hope is the emotional
parasite in the film: the thing that keeps us going but sucks our marrow dry.”
This
is echoed in the article with a quote from Bong himself:
“Maybe
if the movie ended where they hug and fades out, the audience can imagine, ‘Oh,
it’s impossible to buy that house,’ but the camera goes down to that
half-basement,” he says. “It’s quite cruel and sad, but I thought it was being
real and honest with the audience. You know and I know
— we all know that this kid isn’t going to be able to buy that house. I
just felt that frankness was right for the film, even though it’s sad.”
This is the kind of social reality that can only come
from someone with a sociological background. If it was a typical Hollywood story,
and therefore a wish fulfillment fantasy, the film would have ended there. But since
it doesn’t, we are left with the grim reality of hopelessness and death. The last line, “So Long..” is the nail in the coffin.
CONCLUSION
While the narrative plots of Kurosawa’s High and
Low and Bong Joon-Ho’s Parasite are not similar, they are compatible.
Each film in their own unique way, asks questions about the stratification of
social class and both films live in the human consequences of its answers. While Bong Joon-Ho
is standing on the shoulders of Kurosawa as a filmmaker, it is Bong’s sociological
background that puts him above Kurosawa with his ability to use film as a mechanism
of social commentary. Either way, these
two films would make a great double feature to keep the problems of
capitalism in the general public consciousness and its solutions in the social discourse.
[1]
The Greek Astrological sign of the Gemini identifies twins Castor and Pollux brothers
of Helen of Troy.
[9]
The Communist Manifesto
[10]
This is a combination of the means of production – financial capital, buildings,
tools and machinery, and raw materials- and the social relationships of
production ( power dynamics)
[11]
They are the creators and the owners of Jobs they have economic hiring and
firing capabilities
[12] s
the ability to control material resources: to direct production, to monopolize
accumulation, to dictate consumption. http://brooklynsoc.org/courses/43.1/weber.html
[13] This
is the value of knowledge skills and experiences a person has within a
particular social situation
[14]
This is the value of a person’s social relationships within a particular social
situation
[15]
There is a lot of sociological evidence that socializing individuals to challenge
authority coupled with the symbolic power of white male privilege rewards this
group with more class status
[16]
This is because your access to resources creates a different reality.
[18]
Most Business men still read the ancient treatise on the samurai code: Miyamoto
Musashi’s “The Book of Five Rings”
