The Lady from Shanghai

Trouble awaits a foolish hands-on dreamer after taking note of aesthetic charm while strollin' about one fateful evening.

From the way he speaks it's as if he's well-versed in hardboiled tactile role play, and his actions enliven romanticism recreation wit democracy.

But he's easily lured by the appeal of elegant things and dismissive of signs of betrayal, far too trusting for someone so seasoned, too caught up with enchanting ceremony.

The sharks rely on his innate good nature to proceed with nefarious intent, without even much of an effort, much persuasion, insistence, goading.

It's often fun to play games I suppose even if you're unsure of the rules, it's much less boring if they're harmless anyways, a bit of innocent light indiscretion.

Much more meaningful if they aren't too serious.

Non-threatening off hand amusement.

Like gambling, gambling's not so bad if you bet small sums and aren't upset if you eventually lose them, but if you're betting your entire pay cheque and your rent's due the instinctual thrill may be incapacitating.

Michael O'Hara's (Orson Welles) shark anecdote indicates he's a worldly man, but trips to the aquarium and the amusement park suggest he's not a serious gambler.

The destinations weren't self-generated but their applicability's by no means remote, yachting too suddenly comes to mind, sharp diversions from his not-so-steady routine.

Full-on agency he's certainly feisty and more than ready to share his opinion, but that doesn't change the fact that he's broke or single or trusting or hopeful.

I'm supposed to question whether or not it's a genre, but I think there's no doubt there's a film noir style, that filmmakers are aware of its loose narrative conventions, way more so far back in the day.

If Welles possessed such an awareness perhaps The Lady from Shanghai was a cheeky lampoon, much too subtle to emerge strictly comic, much too blunt to assume grand tragedy.

The aquarium and the fun-house suggest it's not taking itself seriously, unorthodox courtroom theatrics, an extended altercation, too many pills and it's off to Chinatown, just before the verdict descends.

If hapless film noir chumps notoriously can't piece things together, O'Hara is particularly obtuse considering his personal history.

The final shoot out's a bit far-fetched.

George Grisby's (Glenn Anders) character's ridiculous.

A wake up call perhaps that also laments such traditional dispositions, too good to be true and what have you, but who would have blamed him for trying?

Well worth it regardless of intrigue if not simply to dismiss what I'm saying, there are many great lines and scenarios, and I'd argue a love for the absurd.

The drifting labourer takes on men of means and falls for one of their wives.

Who's bashful enough to encourage him.

Distill blueprints ad infinitum.

Gisaengchung (Parasite)

A family lost, distraught, unmotivated, confined, still amicably blossoms with felicitous good cheer, unconcerned with the burdens of routine or responsibility, they wondrously extrapolate 'bout nothin' that serious, getting by on part-time work that greases the wheel but not the spoon, things would seem quaint and cozy if it wasn't for the bugs, doctrineless discernment gregarious fouls, bewitching internment impressionable scowls, a tip immersively emerges like fledgling novel suspicion, and soon a family member's bringing home thatched coconut bacon, the fluidic tease of his newfound earnings concocting pastime, project, and plan, soon they've all worked their way in, and embraced lucrative unsought transition.

A wealthy family hiring help unaccustomed to astute deception, broadening horizons through pitched endeavour, providing purpose and steady employ is tricked, sophisticatedly hoodwinked, yet finds no reason to rigorously question, comedic outputs mutually prescribed.

But an historical hitch lies in soul stricken wait, and others have taken advantage of their amassed well-worn fortune.

And as the dust seems to settle and libations accrue, an unanticipated factor problematizes anew.

I thought it'd be something different, thought the wealthy family was indeed aware, ready to propose alternative arrangements, composed with sardonic flair.

It's not like that, not like that at all, it's rather a morbidly humorous take on labour relations, and non-unionized strategic conflict.

Gisaengchung (Parasite) excels at revelling in shock, like bourgeois dispossessed Takashi Miike, still not as haunting as I had come to expect, although its climax seduces fear.

It's far too cheery to impact like Old Boy, and retributive to placate the real, a tale of morals meteorologically harmonized, the violence doesn't really fit.

The family was happy on its own and seemed lighthearted and innocent.

There isn't much logic to Mr. Ki-taek's (Kang-ho Song) act of rage.

Besides the sudden eruption of blind envy.

Or having to listen in his laidback old age.

Absurdist pretensions cloaked in divine judgment, there's no telling whether or not you should take it seriously, for it seems like it's trying to convince until you analyze its bizarre shortcomings.

Labour relations at an all time low, but the employers haven't done anything wrong, besides exist as they instinctively see fit, they're quite generous in fact, quite concerned.

Of course you don't have to sign too many petitions or read the news for very long before you come across stories of abused domestics, Gisaengchung overlooking this grim reality as its lucky help asserts itself vengefully (ala Lars von Trier).

A distressing narrative that assails wild envy, or people unwilling to correct errors, for rather than accepting they had lied to begin with, they respond with ironic terror.

But the scenario's indeed absurd, and perhaps meant to be thoughtfully dismissed.

Although it's also quite real as if it's meant to be taken to heart.

It presents characters lavishly sharing their wealth without asking much in return (there are many great people like this), who are mortally wounded as a result, even though their servants lied to get their jobs.

If it's not meant to be dismissed, it's something much more grim.

More of a condemnation of hired help.

Resolute mendacity.

Begrudged disfavour.