1. Uncles like me who were born and grew up in the 1970s have had endless fun from movies in which the "Li Xiangyang" (captain of the "Plain Guerrillas") character is the protagonist. In childhood, films like "Tunnel Warfare" and "Landmine Warfare" that can be clearly distinguished by looking at their faces have been played repeatedly for a long time. It makes people feel that watching our army's enemies on the screen is far better than watching them. The three little people who don't know what they want to do are full of excitement and satisfaction. However, when I started to watch Hollywood movies as an adult, I found that although China and the United States have often been fiercely in various fields, each drawing the other side as paper tigers, but there is no such essential difference in the model used to please the public: a large number of The pleasure of entertainment comes from the adrenaline explosion inspired by the exchange of good and evil. The root cause is that although everyone's specific positions are incompatible with each other, they are all accustomed to taking the one-size-fits-all judgment of moral and political ideology as a perpetual motion machine that creates contradictions, dramas and conflicts. The reason why we as viewers feel good is that the "bad guys" that were implanted in our minds were beaten up by the "good guys" without hesitation in various ways, difficulty and degree. Soul flies away. When I started watching so-called "art movies" when I was older, I gradually realized that in many movies, the sense of confrontation with clear barriers was dressed in disguise and put on a more delicate and thoughtful shell. Maybe because I read too many books and my thinking becomes more complicated, I may no longer be immersed in the spectacle of the devil being bombed into the sky in "Landmine War", or Schwarzenegger punched the metal body of the T-1000 through. It's cool, but I'm attracted by those movies that seem to be speaking from my standpoint. I also live the days when I have no power, money, or power to be at the bottom of the society and be leeks for others. Whenever someone talks about a group of people that can make me feel substituting and angrily denounce or laugh and yell at that group of people I don’t understand. Stories can resonate deeply in my heart and make me feel very "real". Naturally, in my mind, the world splits into two halves of positive and negative, and following the guidance of certain innate concepts that I have received since I was a child, and its counterpoint with my own situation in reality, I automatically return to myself When I got to one side, I looked closely at the other side. As for whether there are individuals in the world who can’t just stand in the middle like Boss Lin in "Lin’s Shop", who can’t just stand in the middle, or who don’t want to put themselves on one side but just want to be there, just like The "middle character" and their "middle state" disappeared in the Chinese movies from 1966 to 1976. We all chose to ignore them and do not want to mention them again. Fancy There seem to be different times, regions and fields between domestically produced revolutionary films, Hollywood films, and certain acclaimed realist art films. They cannot be beaten by eight, but they are likely to run through a similar idea. , Is to cancel the "interference" of the middle route, and make the world split into a chasm and barriers. All they have to do is to create different stress responses of people on both sides of the gap to the other. Whether it is anger, cursing, mutual destruction, or observation, ridicule, or even admiration, they are all based on an insurmountable human class. Above the boundary. The repeated play of the boundary and the depiction of the opponent on the other side of the boundary (whether subjective depreciation, neutral observation or objective praise) are the source of a large part of human fun and pleasure. This may be the basis of "Parasite". 2. It is said that Feng Junhao said in the interview that he did not know much about politics and was not interested in it, but the content of many of his films seemed to be based on a concise essay based on the clearest political boundaries (class identity opposition). "Snow Country Train" in the virtual future divides humans into different levels of wealth and arranges them in different positions on the Noah's Ark Train, which triggers a violent revolution of low-level humans; the dividing line between the two opponents in "Yuzi" is set in Between the capitalist consortium and ordinary peasant girls; different types of monster films and crime suspense films like "Han River Monster" and "Memories of Murder" also imply an ordinary people pursuing justice and truth and a brutal and incompetent arbitrary rule. The dividing line between the persons. The most obvious thing in "Parasite" is that President Park, who represents the wealthy class, constantly emphasizes in the film that the working people at the bottom should abide by the insurmountable class identity line. In fact, through the mouth of this self-satisfied leisure class, Feng Junhao easily digs a black and white gap in the film, and the characters standing on both sides of the gap are like NPCs precisely set in a video game. (Non-Person-Character, Non-Person-Character) the same, began the stylized operation. On the one hand, the four Jins live in a standard symbolic metaphorical space: several times the camera from the ground has taken the audience’s sight into a semi-underground slum, and the family living in it surrounds the “money” all day. The ultimate goal is turning around, believing that its "ironing" ability can fill up that unfathomable ditch, and lift them onto the ground to become "good" people; on the other hand, President Park and his family must climb up the stairs. They only care about how to live a more comfortable and high-quality life (for this reason, they will not hesitate to become stupid in the eyes of the audience), and how to sit and drive smoothly. Mercedes-Benz, eat raccoon udon noodles in eight minutes, buy pure American products online, let her daughter speak standard English, let her son's talent for painting explode, and so on. "Parasite" presents us not so much as a living character, but as an artificial intelligence with a set goal. When the Deepmind engineer orders Alpha Dog to play Go, it will only start to revolve around winning and even show a more unpredictable chess skill than real people; but Ke Jie sitting opposite it, even if he wants to win again, he must During the three-hour battle, take time to go to a toilet that has nothing to do with chess, and solve other physiological needs. This is the difference between people and things. When watching a movie, do we want to see living characters showing their rich and diverse thinking, emotions and actions, or are we happy to watch artificial intelligence perform talent shows that are beyond human imagination around a single goal? This is actually a question of values. Perhaps Feng Junhao really doesn’t understand politics, so he chose to rely on the pre-set extensive and single-class identity boundaries to locate the "artificial intelligence"’s only ultimate goal, regardless of what even ordinary film screenwriters can think of. Basic common sense: characters can’t go along, you can’t arrange all living people in a life show to "struggle" for the same single goal uniformly from beginning to end-that is the utopia of the few powerful and powerful men in the world fantasy. It may also be because Bong Joon-ho doesn’t understand politics that he started to explore the entertainment value that simple class antagonism can bring, and in this respect he is undoubtedly a master: whether it is the Jin family’s four-member relay race, he sneaks into the Pu’s family. Becoming a high-paying "family attendant", or the dismissed maid Wen Guang and her husband Wu Qinshi hiding in the basement against rainy night, or a few people in the big house dodge like hide-and-seek, are all designed to be thrilling Full of wit. The smells, cockroaches, business cards, ornamental stones, underground air-raid shelters, and even Wen Guang’s brilliant imitation of the famous North Korean news anchor Li Chunji in a large villa filled with American goods are all magical, constructing a sophisticated three-dimensional metaphor system. , Let us never forget to return to the dividing line of class antagonism in the amusement. Many comments have talked about the allegorical body of "Parasite", but in my opinion, the fable should be told by the story, but "Parasite" does the opposite. It consists of one in the real world. Proceeding from the fixed concept deep into our minds, a large number of highly skilled bridge sections have been designed, so that the viewer produces a large number of baroque multi-layered complex counterpoint pleasure around the preset position during the viewing process. What you see That is to say, the thinking mode of operation makes it essentially a Hollywood-style self-arguing closed loop: the concise and extensive moral and ethical views promote the characters in the film to make a series of actions with strong causal effects, and the audience is making them I got great satisfaction from the dazzling plot reversal and technical effect display, and under the guidance of the provocative plot, I continued to return to the starting point to confirm and deepen the correctness of the initial concept in my mind. This is a typical ideological entertainment operation. Reasonable indoctrination and pleasure derivation complement each other. The presupposition concept allows entertainment methods to find a solid moral and ethical support, which effectively amplifies their sensory stimulation and incitement. In essence, it is no different from the Japanese commander Matsui, who we saw at the end of "Plain Guerrillas" that Li Xiangyang used revenge bullets to attack with a knife, except that "Parasite" is more visually refined and more sophisticated. And those bugs that are unreasonable when you think about it, such as the foolishness of the middle-class idle class in "Parasite", the unreasonable behavior of his wife Zhong Shu Yu, letting strangers into the house at night, or Wu Qinshi not eating in the underground air-raid shelter for a few days You can still join in melee without drinking, etc., all of which have been taken by the gorgeous performance skills. Self-consistency and authenticity are not so important before the dividing line of class antagonism. The important thing is that in the chaotic massacre of the husband, Kim Ki-taek suddenly awakened in the face of the face-faced and indifferent President Park, and severely stabbed the class antagonism. With a knife, he consciously returned and clearly indicated the dividing line. At the end, he was closed underground and isolated, allowing all viewers to return to the starting point of the preset concept in their minds, confirming the irrefutable existence of class division, opposition and hatred, and the insurmountability of that dividing line. The film seems to end with a tragic openness, but what the audience gains is the joy and satisfaction of the correctness of the presupposed concept in self-cognition. 3. There are several different Western films that can be used as a benchmark for "Parasite": Louis Bunuel's "Velitiana", Joseph Rossi's "The Servant", or Claude Chab Lowe's "Cold Blood Sacrifice." On the surface, they seem to be very similar to the starting point of the plot of "Parasite", and both describe uncontrollable riots caused by conflicts between masters and servants representing different classes. But after careful analysis, there are many essential differences. The heroine of "Velidia" is a middle class with an idealistic impulse. In the film, she strives to break through the class boundaries with typical religious sentiments and put everyone on the same track of universal salvation. But after encountering a series of setbacks, even when the house was occupied by rogues, and she was almost unpredictable, she retreated into a perplexed numbness (sitting at the table) Before playing a poker game mechanically). At this time, we suddenly realized in front of the screen that what caused her failure was not the repeatedly emphasized social class differences and solidified opposition, but the instinctive impulse hidden in everyone's heart. Desire or greed or desire) to shatter and divide the world, which is far from what the class dividing line can cover and describe. Similarly, in "The Servant", Joseph Rossi made the seemingly gentle and humble servant Barrett stage an anti-guest mental drama. The latter used lust as a tool bargaining chip to control the originally arrogant young master Tony step by step, and in turn placed him in a state of mind slavery to play around. It seems that this is a micro-revolution in which the lower class subverts the upper class, but the methods Barrett uses show his strong power to control the desire to conquer. In the same way as Bunuel, Rossi erased the superficial antagonism and blindness, used scalpel-like fine brush strokes to penetrate into the character's psychology, and deconstructed and analyzed the various surface variations of power control and competition between individuals. The most exciting is Chabrol (he was mentioned by Feng Junhao as a spiritual mentor at the Palme d’Or awards ceremony)’s "Cold Blood Ritual". With extremely restrained patience, the film portrays the weakness of the maid Sophie hidden by every possible means: she is an illiterate who does not know how to write, which is regarded as a shame in her life. Faced with the “enthusiastic” help from the host’s family with a typical middle-class hypocritical color, her hostility increased day by day, and finally after the secret was revealed, she killed a family of four. At the beginning, the film set up several division lines of similar nature but different performances: master/servant, middle class/lower labor, leisure cultural class/illiterate, but in the end it straddles them one by one and stays in the heart of the heroine. The pathological and persistent adherence to personal dignity makes us realize that class differences are only the fuse of contradictory impulses, but the inner self-preventing beast impulse to attack is the "high explosive bomb" itself. All these films and "Parasite" have the most essential difference: they start with class opposition, but never plan to return to this straightforward dividing line at the end. They cross the gap of group confrontation, penetrate into the inner spiritual world of the characters, internalize the external conflicts and oppositions into the analysis of the individual mental states of the characters, and finally reveal more essential cognitions: common misunderstandings, oppositions, Hatred and violence may be manifested as the separation of different classes, but their inner origins start from inner desires, impulses and cravings. They are essentially kaleidoscopic conflicts between people, rather than uniform divisions between people. Confrontation. Exactly this Such a high level of understanding allowed these three films to get rid of the pre-conceptual entertainment tendency, and rose to serious works that explored human nature. And "Parasite" stays at the starting point of class consolidation, classifying humans with a single standard, discovering the fun of creating class antagonism, and using it as a potential selling point to attract the public, willing to have both pleasure release and shallow brainwashing Entertainment works that instill the function of circular argumentation. It also needs to be emphasized that one of the basic characteristics of primitive capitalism in philosophical methodology is the one-to-one correspondence between cause and effect (stimulus and response). This kind of closed-loop operation mode of grasping the big, letting go of the small and hanging up the ten thousand leaks can ensure its speed and efficiency. Regardless of whether "Parasite" depicts the proletariat or the bourgeoisie in content, or which side of the class line stands on, it uses a single purpose to unify all characters as the only driving force for their thoughts, emotions and behaviors. All made them fall into the trap of bourgeois methodology invisibly. It is this paradox that inevitably leads "Parasite" to a high-quality leisure class popcorn movie full of entertainment spirit. What’s interesting is that because of such a single-purpose perpetual driving force, the four Jin family members in the film were always bewitched by the delusion of earning money to change their class attributes and were unable to extricate themselves. Therefore, they were always trapped in a closed loop. Unable to escape. Regardless of whether Feng Junhao designed this intentionally or accidentally inserted the willow, this can be regarded as the only shining point of "Parasite" with ideological enlightenment. In the film, the four members of the Jin family are always bewitched and unable to extricate themselves by the delusion of earning money to change their class attributes, and therefore they are always trapped in a closed loop and cannot be freed from it. Regardless of whether Feng Junhao designed this intentionally or accidentally inserted the willow, this can be regarded as the only shining point of "Parasite" with ideological enlightenment. In the film, the four members of the Jin family are always bewitched and unable to extricate themselves by the delusion of earning money to change their class attributes, and therefore they are always trapped in a closed loop and cannot be freed from it. Regardless of whether Feng Junhao designed this intentionally or accidentally inserted the willow, this can be regarded as the only shining point of "Parasite" with ideological enlightenment.
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