The entertainment value of class boundaries

The feeling of the script of parasite is that, not to mention all Korean commercial films, at least the script of this film is absolutely proficient in Hollywood drama mode, and even higher than many Hollywood dramas in content and structure. Step by step, link by link, the context of the plot is very clear, so clear that you think that's how things should happen, otherwise everything will be wrong. The arc of the characters is good, and the process of transformation is also reasonable. This is due to the design of many small details in addition to the big structure. For example, the father Jize (song Kanghao) who starts to appear as a good man and finally commits the crime of murder, whose personality changes are mainly attached to the detailed design of "smell discrimination" again and again. However, as many critics of the film say, such a purposeful plot can't make the audience think independently. Almost all the gaps are filled, and the meaning and direction are extremely clear. The interpretation space can be said to be zero. It's like listening to Feng Junhao's cramming Lecture

I agree with that. A good work of art should really be "a thousand readers have a thousand Hamlets". For example, my favorite world famous work, les miserables, readers can read it from many aspects and get enlightenment. Although it is extremely difficult to write a three act play well (that is to say, to the extent of this film), in terms of leaving blank and aftertaste, it can be said that this is the short board of criticism that commercial films have to bear in order to have the characteristics of "business" and "entertainment".

Apart from that, I am not satisfied with two other aspects of the film. First, I mentioned in my short review that the space design of the basement of the rich family is divorced from the narrative environment, and the state presented in a realistic film is surreal. In the sense of semiotics, it does not belong to the ground or underground, but a nihilistic zone that does not belong to this era and "does not exist" in today's real society. Therefore, for a film focusing on the analysis of the real social class relations, I think it is "helping". Adding a character (the husband of the old housekeeper Wen Guang) and a dramatic space can promote the plot and expand the possibility of narration, but it costs more than it costs to lose part of the sense of reality and persuasion. Second, the film is full of coincidence. Coincidence is widely used in commercial films, but good coincidence must not appear after the first act. Even if it appears, it will pave the way. However, we can see that in the second act of Zhongshu's drive away Wenguang and his wife, father keize and his children accidentally fall down the stairs, which directly leads to the tilt of power and turns the family from active to passive. This "carelessness" is a very cheap coincidence; the same thing happens in the third act. Jiyu holds the stone and wants to go downstairs to murder Wenguang and his wife. The result is another "carelessness". The stone rolls down the stairs, revealing Jiyu's whereabouts

But in other words, the script structure of the film is still worth analyzing and learning. Nowadays, the mainstream of movies is still three act drama, so three act drama is also the basis of script writing. Only by laying a good foundation and gradually moving from beginner to proficient, can we have the capital to play freely in the future, free from restrictions, and let creativity "burn" heartily.