The film, The Host is a monstrous movie and an abduction thriller that revolves around a monster that needs to be killed and a family in search of its daughter. The narrative structure takes the form of an aesthetic dialogue that brings out its political, cultural, and social significance. From the onset of the movie, Bong introduces a monster that emerges from the Han River and begins to kill several people. Through this inversion of conventions, the filmmaker illustrates the ambivalence of South Korean culture, which has heavy political undertones. The director also criticizes the South Korea’s culture of consumerism and modernity in its pursuit to gain a first-world status. A woman listening to music through her headphones is grabbed and killed by the monster because she was engrained in her individual entertainment and electronics consumption. On the other hand, another woman who sits by the monorail is spared by the monster since it cannot reach the area. Both the headphone and monorail are marks of modernity but the monorail serves a collective purpose while the headphone is an individualized commodity.
The Host is a deliberate departure from the regular format and structures of Hollywood horror films. Instead, it assumes a jaw effect, which is characterized by holding back the monster to reveal it later after the filmmaker has built up significant anticipation. The director shows the monster’s full shot as it strolls graciously along the Han River. The use of black comedy is another narrative structure employed by the director. This approach creates nervous dissonance that leaves the viewer with a dilemma of whether to laugh at or feel sorry for the characters. The story is a stuck reminder that despite the selfishness and weaknesses of human beings, it is important to empathize with their pains. A classic example of dark humor and empathy is at the mass funeral when the family comes together to bid farewell to Hyun-seo. Her memorial is dramatic and done in an uncontrollable manner.
In its entirety, the film’s shoddy visuals and cookie characters cause viewers an unintentional laugh. The monster has been used as a metaphor used to denote pollution that takes place in the river. Some of the parts of the movie were filmed in real sewers that surround the Han River. During the filming process, the team had to deal with such effects of change as ambient temperature and weather (Cutting 1724). This included the water freezing sewerage water had to be broken and melted. Some of the most overriding themes in the movie include the feminine patriarch, poverty, and environmental pollution.
The ambivalence of contemporary South Korea is defined by a home, which in this film is both a source of comfort and also an indication of the loss of the country’s traditional values. The theme of poverty in the film is illustrated by the agrarian lifestyle of the rustic Korean homes. However, there are visible changes where these give way to western-style apartments that are mostly found in urban centers. Home-cooked meals that were previously common in many Korean homes have been replaced by instant noodles and snacks. Similarly, in the past, Korean families lived up to three generations in a home. This has changed as there are high rates of divorce that have continued to threaten family unions.
Work Cited
Cutting, James E. “Narrative theory and the dynamics of popular movies.” Psychonomic Bulletin & Review, vol. 23, 2017. pp. 1713–1743.