F.I.L.M. of the Week (May 18, 2017)

18 05 2017

Recently, I waxed existential on Nacho Vigalondo’s “Colossal” in regards to what the monster represented thematically. To avoid reruns, I’ll spare the long introduction to symbolic genre interpretation and simply say my take on Bong Joon Ho’s “The Host” utilizes a similar analytical framework – but from a different angle. Sometimes it’s not just the monster we should be looking at. The victims are also worth further inspection.

When the strange Korean river monster emerges from under the bridge in “The Host,” the creature snarls a certain type of person. The girl distracted on her phone. The family too busy watching TV to notice something out of the ordinary. If you choose to interpret obesity as a product of personal laziness rather than genetic predisposition, maybe you could lump the guy in a jersey two sizes too small for him in with this group. The monster is pretty clearly targeting people who are impeding contemporary society with their habits.

That’s far from the extent of Bong’s commentary on the time, part of the reason “The Host” is my “F.I.L.M. of the Week” (as a reminder, that’s a contrived acronym for First-Class, Independent Little-Known Movie). He crafts a great action movie that’s thrilling to watch from an entertainment perspective. As a rip-roaring adventure for Gang-du to recover his daughter Hyun-seo from the sewer prison of the monster, it’s a blast.

But if you come for the genre fare, stick around for the ribbing political satire. At every step of the way on their rescue of Hyun-seo, some arcane bureaucratic procedure or cruel governmental intervention holds them up. (From a current perspective, it looks like a sharpening of the knives for “Snowpiercer” just a few years later.) There’s comedy, malevolence, malfeasance and terror lurking in just about every scene – often times all at once, a pretty remarkable feat for any director to execute.





REVIEW: Snowpiercer

3 07 2014

SnowpiercerDirector Bong Joon Ho, like many cinephiles, is a big fan of Tilda Swinton.  And at the 2011 Cannes Film Festival, he tracked her down and professed his admiration at a brunch.  Afterwards, they mutually decided they would work together on something in the future.

Joon Ho was in the process of writing “Snowpiercer,” and he feared there would not be a part for Swinton in the script.  But then he had a stroke of genius: he would cast Swinton, no stranger to playing some rather gonzo roles, as the authoritative Minister Mason.  This part, however, was initially written for a man.

Swinton gets made-down quite amusingly by the hair and makeup department, pairing her with a drab wig and some nasty dentures.  She’s not her usually chic self, but Swinton isn’t identifiably masculine, either.  Joon Ho doesn’t change any of the personal pronouns in the script, so Mason is still referred to as a he.

Swinton’s performance, then, is not one that doesn’t choose a gender but seems to transcend our understanding of the binary altogether.  As a whole, “Snowpiercer” relishes in this spirit of breaking boundaries.  It can’t necessarily be tied down to one genre, constantly surprising us with each turn.

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