Why the Word 'Parasite' is Perfect for the Movie 'Parasite'

The title of the South Korean film Parasite uses the word 'parasite' to great effect, evoking a complex narrative of exploitation and dependency that transcends the confines of the film. This essay delves into the multifaceted nature of the word 'parasite' as it applies to both the titular characters and the broader social context depicted in the film.

Initial Interpretation: The Protagonist Family as Parasites

At the beginning of the film, the audience assumes that the title refers to the Kim family, the protagonist family, who are shown as parasitic because they live in the residence of the wealthy Park family after most of the previous house staff have been dismissed. This initial interpretation is grounded in the observable behaviors of the Kim family, who exploit the resources and space of the Parks, resembling parasitic organisms that feed off a host.

Challenging the Initial Interpretation: The Rich as Parasites

As the film progresses and reaches its climax, this initial interpretation is challenged. The narrative suggests that the title may refer to the wealthy Park family, who live lavishly at the expense of the poor. Rather than the Kims being the ones draining the resources, the Parks may be seen as leeching the very essence of the Kims. The film places a stark contrast between the two families and their lifestyle, pointing to a deeper political commentary on the economic system that sustains such inequalities.

Similar to the concept of trickle-down economics, the film hints at a form of siphon-up economics, where wealth at the top stifles the bottom, creating a cycle of dependency. The rich may be seen as parasites on society, siphoning off resources without contributing to the broader social good.

Further Exploration: Parasites in the Film

In the broader context of the film, everyone can be seen as showing the trait of a parasite at some point. The man living in the dungeon and the working lady can also be perceived as parasitic, as they have lived off the wealth of the rich family for years, essentially feeding off their resources.

Moreover, the employment of the working lady by the Parks and her close friend in the basement further emphasizes the parasitic relationship. These relationships illustrate the dependency of the underclass on the upper class, highlighting the fine line between social climbers and temporal parasites. The dynamic between the two families can be seen as a cycle of parasitic relationships, where the reclaiming of the BMH (Basement Main House) adds a new layer of complexity to the narrative.

Conclusion: Suitability of the Title

The word 'parasite' in the title of the South Korean film 'Parasite' is incredibly suitable because it encapsulates the central theme of the film: the relationships of exploitation, dependency, and mutual abuse that exist between different social classes. The title not only fits the narrative but also invites viewers to explore the deeper philosophical implications of the film, which goes beyond simple exploitation stories and touches on broader social and economic issues.

Whether you interpret the Kims as the parasites at the start of the film or the Parks as the ones at the climax, the title remains a fitting and thought-provoking choice that enhances the impact of the narrative. 'Parasite' is a powerful subtitle that encourages viewers to question and analyze the complex dynamics of social relationships and economic dependency.