Parasite vs. The Oscars So (Mostly) White

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Oscar season has come and gone and in what seems to be a ongoing problem with the Academy is the lack of diversity in their nominations. Yes, once again the major categories showed a lack of people of color. Only one Black woman was nominated for a major award,  Cynthia Erivo for Best Actress in Harriett. Akwafina may have made history and wowed the Golden Globes voters for her performance in The Farewell, but apparently she did not make the cut for the final list of nominees for Best Actress.

No female directors were nominated this year despite Greta Gerwig’s film Little Women making the list for Best Picture. Tom Hanks was acknowledged with a Best Supporting Actor nomination for A Beautiful Day in the Neighborhood, yet it’s director, who used very unique techniques in filming to recreate the feel of the sets and the show, Marrielle Heller, did not get such acknowledgement. Lulu Wang, who directed one of my favorite films of the year, the aforementioned The Farewell, was passed over for all categories including her screenplay.

I recently saw a comment on social media to mention any other good films by female directors. So along with the above mentioned ones, we can add Alma Har’el (Honey Boy), Kasi Lemmons (Harriet), and Lorene Scafaria (Hustlers). It is very shortsited to think that no women diretors had directed anygood movies all year. and it just onfirms an inherent bias.

Now, let me be clear about the films that were nominated. I did manage to see a good portion of the major nominees and none of them I felt were undeserving of acknowledgment. However some of the films that I felt were slighted were just as deserving or even more so. But the Academy once again shows odd ways of nominating films.

Some films were almost automatic because of the names behind it like Martin Scorsese’s The Irishman or Quentin Tarantino’s Once Upon a Time in Hollywood. Both were fine films but neither of them is a reflection of the best work by their directors.  The Irishman was a very good film but it is inevitable that it will be unfairly compared to Goodfellas yet it was Scorsese’s most ambitious film. I believe it got default nomination out of sympathy. As plodding and boring at some points that Once Upon a Time in Hollywood was, The Academy loves films about itself and about the good old days in Hollywood. These two films were going to automatically suck up some air as far as nominations, especially with two nominations for supporting actors going to The Irisman actors Joe Pesci and Al Pacino. Sorry ,Tzi Ma (The Farewell), no room for you on the bus.

Yet somehow amidst the no surprise nominees, there  somended up some surprising winners. Bon Joon-ho won an Oscar for his original screenplay of Parasite. Taika Waititi was the first Maori to win an Academy Award for his adapted screenplay for Jojo Rabbit. You could feel something was in the air as the Academy audience was clearly cheering Bong Joon-ho and Parasite on during every category it was nominated for was mentioned. It was without question the favorite and eventual winner for best International film. The best screenplay win for Parasite was a nice surprise especially since it is a script originally in Korean. Winning International Film Oscar was probably the safest bet of the night.

When it came down to Best Director, I don’t think anyone was as surprised to win as Bong Joon-ho. Afterall, the other nominees were the likes of Martin Scorsese, Quentin Tarantino, Sam Mendes (1917), and Todd Phillips (Joker). Like I said, I can’t argue with the choice of nominees, despite the lack of female representation. Yet history was made that night as Bong Joon-ho became the first South Korean director to win Best Director.

Parasite’s mark on Oscar history was sealed when the ever elegant, and not at all looking 82 years old, Jane Fonda announced that Parasite was the Best Picture of the year. Bong Joon-ho ended up tying none other than Walt Disney as the only person to win four Oscars in one night. Parasite was the first Korean film to win a screenplay award. As stated before, Bong Joon-ho was the first Korean director to win a Best Director Award. It was the first Korean film to ever be nominated for an International Oscar, and it won. Parasite was not only the first Korean film to win Best Picture it was the first film foreign language film in the entire 92 year history of the Academy Awards to win Best Picture.

The significance of Parasite’s success is hard to say at the moment, but it will definitely not be forgotten. Hopefully the Hollywood machine won’t grind up Bong Joon-ho like it tried to do with John Woo. Bong has already had some critical success with American productions such as Snowpiercer and Okja. He seems savvy and is genuinely loved by the Hollywood elite. We are also in a great era for many filmmakers to make films the way they want to despite the flood of remakes and tentpole blockbuster comic book franchises. Bong Joon-ho also knows he doesn’t need to make $200 million budgeted films to convey his vision.

One thing for certain, despite the Oscars so White Strike Back, people of color still managed to overcome the lack of diversity. Hair Love which took home the Oscar for Best Animated Short, is a beautiful animated short about an African American father trying to style his daughter’s hair for the first time. It comes at a time where natural Black hair is coming under fire by unfair and frankly, bigoted, discrimination.  One of the latest examples is of a Texas teen who was told that he would not be allowed to attend his own graduation if he did not cut his dreadlocks.

Am I saying that race and gender should be considered in the nominating process? Absolutely not. That would really not make sense. The problem is that in some ways the Academy has not considered many films featuring people of color  in their nominating process because they probably had not seen it or were uninterested in seeing it. The buzz and previous awards (Cannes Palme d’Or, The Golden Globes) given to Parasite certainly provided momentum to the Academy and especially the voters. Perhaps the nominating committee were uninterested in a movie about strippers drugging and rolling rich Wall Street bros for their money (Hustlers). Or perhaps they were uninterested in seeing, yet alone nominating a personal film about a Chinese family lying to the family matriarch about her cancer (The Farewell).The Farewell was also mostly in Mandarin. Maybe Academy members were confused whether it was an American film or an International film.

I myself was certainly rooting for Parasite for the best film of the year but having recently seen 1917 I absolutely thought it would win. But perhaps why Parasite is so popular and so loved is that even after watching the film, days later you are still thinking about it and the layers of messages within it. 1917 is a brilliant film from any standpoint and Roger Deakins hands down deserves the Oscar for Best Cinematography. But it does not have you thinking about the social economic implications of it weeks later and looking for and examining hidden messages. Parasite sticks with you long afterwards. And that is great example of the effectiveness of cinema to tell a story.

The Academy should not take the blame for the lack of diversity. Hollywood, for decades, has relegated persons of color in front or behind the camera to second consideration. Certainly some strides are being made, yet without fail, when a female director or a person of color is announced for a major project, especially a tentpole blockbuster product it is inevitable that “fans” pile on about the wokeness of Hollywood and agendas of Social Justice Warriors. Since when has being an advocate of social justice and being aware of disparities been a bad thing? It’s time to own and take those terms and wear them proudly as a badge. Eventually Hollywood, as well as the most prestigious awards given up will genuinely reflect the world they are trying to portray .

For more information about the way Hollywood has treated minorities read The Hollywood Jim Crow which I reviewed last year.

There is also Reel Inequality: Hollywood Actors and Racism by Nancy Wang Yuen which I will be writing a review f down the road.

Review: Parasite

South Korean Cinema has really grown in its ability to cross on over to western consciousness. Their films are celebrated for their action films, and crime dramas. K-dramas have become a sensation online and K-pop has taken its share of the US pop music charts. Director, Bong Joon Ho has been at the forefront of the Korean wave. He gained notice with The Host, a Korean monster movie that was unique in that it had a good monster along with a good story and acting. He crossed over into Western films with the science fiction dystopian film Snowpiercer which had some moderate success. Unfortunately not all his films are easily accessible to the West like the brilliant Memories of Murder. With Parasite, Bong Joon Ho has achieved what no other Korean film has ever done, and that is to win the Palme d’Or, the grand prize at the Cannes film festival.

Parasite is a dark comedy that gradually becomes darker and less comedic as it unfolds over it’s narrative. The Kim family is a family living in abject poverty, that somehow manages to get by in life by doing odd jobs, and leeching wifi from neighbors or nearby cafes. Their apartment is below ground with their only window to the outside world is a gutter level view to a the street at gutter level view to an alley where drunks o to pee. And in a symbolic piece of set design, their toilet occupies the highest elevation in their abode. This family is a giant “your family is so poor” joke.

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Opportunity comes knocking when a friend of Ki-woo, the Kim’s only son, asks him to take over the job he had tutoring English for the attractive daughter of the rich Park family since he will be studying abroad.  Ostensibly it’s because his friend doesn’t want other college brats fawning over her while he gone. (Yeah, you know bro-code is gonna get broken) Ki-woo, isn’t really qualified as he’s never been to college, having failed the entrance exams several times, but he does have experience. His sister Ki-jeong just happens to a Photoshop whiz and easily forges college documents for him.

He manages to get the job and while there discovers from the mother that their young son is very interested in art but had gone through several art teachers who could not handle the boy’s wild nature. He recommends a highly praised art therapist who is a friend of a friend who is highly sought after but not cheap named Jessica. Jessica is, of course, his sister.

The Kim family is a family of hustlers. And the Parks are the perfect marks, rich and gullible. The Kims quickly adapt to whatever they need to adapt in order to achieve that hustle. And bit by bit, the rich Kim family finds that the entire Kim family is under their employ, even displacing the currently employed driver and housemaid.

Much of the film is darkly comedic, but is also a commentary on the differences in the class differences between the haves and the have absolutely nothings. The differences between the two families is mainly money. Both are quite likable and both are closely bonded together. As poor down and out that the Kims are, they are still a loving family. True, they are a scheming family of grifters, but there is no doubt that they are closely knit and  they truly care for each other. The Parks, for all their riches and are also a loving family. It is evident that the parents truly care for their children. The Park’s true feelings about social class is revealed most tellingly when Mr.Park keeps mentioning how much he dislikes it when people, meaning the help, cross the line.

The dark comedy soon gives way to just plain dark and enters into near grand guignol territory as dark secrets are revealed and it turns out that the Kims are not the only ones in the house running a hustle.

Parasite is filled with great performances from a cast that finds itself in a combined with a great story and direction. The film is also shot incredibly well. The cinematographer was Hong Kyung-pyo who shot the gorgeous dreamlike film about the artistic muse, M. Even the lower class sections of the city that the Kims occupy has beauty to it as bright neon lights up streets shops and golden warm lights illuminate the streets. Director Bong Joon-ho knows his craft and draws out great performances and is able to craft a story where every characters is memorable.

Song Kang-ho, who seems to be in every Korean film, turns in an exceptional performance as Kim Ki-taek, the father that leads the grifting family and has the bearing of the common man, a man who has been through much in life and deals with it as it comes along the best he can. Jang Hye-jin is Chung-sook, the mother of the Kims who wavers from her lower class upbringing to the matronly act of refined housekeeper with ease.

Parasite is wickedly funny and engaging. You’ll find yourself caring for every character, especially when things eventually turn tragic. It also has subtle messages that you will think about later as it pertains to class. And the ending may be ambiguous, but if you really pay attention, it is ultimately tragic as certain things in life won’t ever change and if they do, it’s only in dreams.

Final Score: 9/10