The Capitalism Crisis
Is the triumph of “Parasite” a sign of a crisis of faith in capitalism as well as democracy?
There’s no denying that the post-covid reality is hard to grapple with, that is depending on who you are. For some, relief is upon us, as we mingle with friends new and old, return to our beloved offices and finally embark on those vacations that were annoyingly postponed a few too many times. However, this relief is met with an air of economic uncertainty that is starting to make itself well and truly apparent, with those at the top of the social pecking order feeling ripples while those at the bottom feel the waves.
The news of a growing class divide is no surprise with the gap between the haves and the have-nots being the largest it’s ever been. Films like ‘Parasite’ (2019), a black comedy thriller directed by Bong Joon-ho expertly weave this social commentary into the action of the blockbuster. At the forefront of this critique is class. Based in South Korea, the film reflects on the country’s own struggles between the rich and the poor. However, these comments are not just isolated to Korean society, instead careful analysis of the film reveals the parallels to the world’s capitalist mecca–the United States.
Capitalism, a system whereby a country’s trade and industry are controlled by private owners for profit, has been deemed as the superior economic and political system, particularly by the Western world for generations. For years, we’ve lived under the impression that social-mobility was possible–think the American Dream, a fantasy marketed to working class Americans to reassure them that their blood, sweat and tears will pay-off one day. But will it? Political instability, economic uncertainty and growing social unrest has raised questions that are beginning to undermine our undivided faith in capitalism and democracy.
According to the NY Times article “Class War at the Oscars” (2020) the triumph of films like ‘Parasite’ could be fueling this crisis in belief, exposing the holes that exist within our social structures that for years we were trying to ignore. Ironic how Bong’s extremely pointed social critiques were critically acclaimed at the ‘Oscars’ an event whose attendees are members of the subset of society that easily belongs to the notorious 1%. They argued its reception is incriminating evidence that supports this crisis of faith in capitalism (NYTimes, 2020).
The film introduces us to two families–the Parks and the Kims. The Parks are a wealthy family bubble wrapped from the troubles of the ‘real’ world, raising their children in a mansion upon the hill and enjoying the luxuries of a live-in helper, driver and tutors. The Kims exist in a completely different reality, as the family of four barely scrapes by, making ends meet with odd jobs and living in a tiny semi-basement apartment at the bottom of the hill. Yet, the two families cross-paths in an extremely bizarre and fateful way as the Kim’s manage to “insinuate themselves into the homes and lives of the Parks” (NYTimes, 2020).
The last few years have proven to us how in times of disaster the ‘rich get richer and the poor get poorer.’ In the New Yorkers article “The Price of the Coronavirus Pandemic,” Nick Paumgarten proves this point to be true. The article features a savvy finance veteran called ‘the Australian,’ who proudly proclaimed to Paumgarten “you don’t know anyone who has made as much money out of this as I have.” He refused to specify an amount but claimed to be up “two thousand per cent on the year.” This return, the result of his quick response to the Covid-19 pandemic. The Australian bought a big stake in Alpha Pro Tech under the expectation that when the virus made it across the Pacific the company would get government contracts to produce more. When he bought it the stock was trading at $3.50 a share and by the end of February, the stock was trading at $25 a share. However, this wasn’t his first rodeo. During the 2008 GFC, the Australian along with some other Aussies known as the ‘Aussie mafia,’ made JPMorgan “hundreds of millions in profits,” another scenario where the upper-class were able to cushion themselves from the effects of the financial disaster, which cost everyday working Americans their livelihoods.
When watching the film I felt myself torn on whether or not the Kim’s manipulative con-plan was ‘unethical’ or rather an example of a family playing the ‘capitalist game.’ A similar game to the one the Park’s would have played to make their ascent to the top (of the class system). Is the Kim’s plan any different to ‘the Australian’? Both are trying to improve their social status, quality of life and financial stability. Do we justify the actions of the Kim family because they are poor? Or do we stand true to our morals? Capitalism is arguably immoral. The wealth of those at the ‘top’ was generated off the backs of those at the ‘bottom.’ In every capitalist exchange there’s always one person getting short-changed, we just have to pray that person is not us.
This disparity between the lowest class and the highest in times of need is mirrored in ‘Parasite.’ Towards the end of the film there is a heavy downpour of rain which causes immense flooding for families like the Kims who live in semi-basement apartments below ground level. Whilst the Kim’s frantically attempt to save their precious belongings, the Park’s watch the downfall in awe from the comfort of their living room. Further, flash-flooding in New York last year (2021) has an eerily similar outcome to that of Parasite. The worst effects of the natural disaster were felt by low-income New Yorkers, those who rely on the subway as a means of transportation, or those in basement apartments whose belongings were washed away by the storm.
‘Parasite’ brings credibility to the idea of the “pursuit of capitalism.” Most who embark on this treacherous journey will live and die in pursuit of it. In the movie, that’s exactly what happened. Improving one’s social class, a by-product of capitalism, is pegged as a ‘drug’ which drives the lower classes crazy, quite literally. Their desire to achieve social mobility causes them to fall further and further out of touch with their fellow low-class peers. In the film, the old housekeeper and the Kim’s literally battle to the death, as both families wish to improve their families social status, unafraid to kill one another to do so.
This absence of social cohesion between and within class levels can be labeled as a side effect of capitalism. The Australian also alludes to this lack of cohesion in America when recommending how the U.S government should approach the pandemic (New Yorker, 2020).
Further, the ramifications of these concepts and ideas can be seen with the inequities produced by the pandemic. It seems that there were two viruses on the loose–Covid-19 and the worsening inequality epidemic, according to the NYTimes article, “As Coronavirus Deepens Inequality, Inequality Worsens Its Spread.” Not only were those at the bottom of the pecking order facing a deadly virus, they were also facing “widening and social divisions that would have consequences for years to come.” Further, it was argued that inequality may be acting as a multiplier on the cornavirus’s spread and deadliness (NYTimes, 2020). For those below the poverty line, they are already associated with higher rates of chronic health conditions such as diabetes or heart disease, so when pairing that with a deadly virus their risk of infection and fatality is tenfold.
These disparities were reinforced in the Brookings article, “Class and COVID: How the less affluent face double risks,” (2020) by Richard REeves and Jonathan Rothwell. Think about it, those at the forefront of the pandemic were not only the traditional “frontline workers,” doctors, nurses, medical professionals, but also those lower-class individuals who were living paycheck to paycheck in service sector jobs, who were unable to ‘work from home,’ or survive off of savings and investments. However, without this sector of society risking their lives to go to work, we would have no people to drive the buses, work the check out at the supermarket or deliver your online shopping, all luxuries those of us in the middle to upper classes enjoyed during the pandemic, and all jobs that fall on the lowest class members. So once again, capitalism relies on the illusion of ‘mobility’ despite the reality for most low-classes proving to be closer to ‘immobility,’ however the lie continues to be sold to them. Without the construction of this mobility illusion, the wheels on the capitalist bus would not be going ‘round and round.’ The article raises points such as, “You need money to be a hoarder,” essentially those with cash up their sleeves are able to pre-buy and stock-pile necessary goods, such as toilet paper, ibuprofen or dried and canned goods.
Again, ‘Parasite’ is unafraid to make commentary on the rife climate of social existence that many of us choose to ignore. Despite doing so in an extremely violent and extremist way, Bong’s messaging is clear as day for his viewers to process, analyze and unpack amongst one another, hopefully prompting introspection in most. So maybe after a thrilling drama film and the continual impact of a devastating pandemic, we are starting to see the cracks in capitalism shine through. Whilst, the rise in bi-partisan politics and right-wing populism further dampen the joys and pleasures of democracy.
So, is capitalism and democracy the match made in heaven, or are we starting to realize that it’s actually the match made in hell?
