https://www.realclearmarkets.com/articles/2020/02/06/bong_joon-hos_parasite_is_overrated_implausible_class-struggle_nonsense_104067.html
In the years after World War II, Korea’s economy was in tragic shape. In 1948, the country’s per capita income of $86 put it on par with Sudan. Disastrous policies led to hyperinflation, snail-paced growth forced mothers to make choices about children along the lines of Sophie’s, plus literacy rates in the country were among the lowest in the world. Analyzing the situation, one U.S. official concluded that “Korea can never attain a high standard of living.” The reason, he observed, was that “there are virtually no Koreans with the technical training and experience required to take advantage of Korea’s resources and effect an improvement over its rice-economy status.”
Happily, however, predictions are made to be discredited. The speculation about what became South Korea’s future proved incorrect. Wildly so. Fast forward to the present, and South Korea now finds itself impressively prosperous. Though GDP isn’t the most accurate or worthy of numbers, what was once wrecked by war (among other things) is now one of only two countries (along with Taiwan) to “have managed 5 percent growth for five decades” on the way to its economy presently ranking as the world’s 13th largest. South Korea is one of the biggest trading partners for both China and the United States, and it can claim some of the most prominent global consumer brands, including LG and Samsung. All that, plus the country’s citizens enjoy, according to The New Koreans author Michael Breen, “the fastest, most extensive mobile broadband networks and the highest penetration of smartphones in the world.” Much has changed in this once desperately poor country, and it’s surely for the better.
All of the above, and realistically much, much more, rates as a backdrop to commentary meant to offer a counter-argument to all the excitement among critics about the 2019 South Korean film, Parasite. Directed and co-written by Bong Joon-ho, it’s presently the longshot but trendy pick to take home the Best Picture prize at Sunday’s Academy Awards. That it’s even nominated is a reminder of how politicized everything’s become, including critiques of films.
