In the final moments of Oscars 2020, when Jane Fonda was on the brink of announcing the most-awaited awards, Shakespeare’s words: ‘All the world’s a stage’ literally came true.
With South Korea’s most talked about film of the year, Bong Joon-ho’s Parasite, bagging the most prestigious and celebrated token: Academy Award for Best Picture, a Korean chapter was added to the history of Cinema. It is the first masterpiece in a foreign language film to have won the honour.
Critics, movie buffs and admirers across the world had waited for this revolutionary acknowledgement for decades and since February 10, they haven’t stopped going gaga over the most unexpected surprise of almost a century for the cinematic universe.
While Parasite also won Best International Film, Bong won Best Original Screenplay accolade and Best Director, beating legends such as Martin Scorsese, Quentin Tarantino, Sam Mendes and Todd Phillips.
And why not? Direction-wise, Bong used his directorial skills with prominence, making him worthy of the honour. The by-product of his cast and crews’ efforts is no less than a marvel to classic movie lovers. By creating this grand work of art by ticking off all the theoretical yet practical elements of story-telling, he and the film will no doubt go down as an integral part of the movie-making curriculum. Let’s not take away the fact that the film indeed fulfilled the basics and key features of filmmaking. Not just this, Joon-ho also seems to well speak the language of cinema — be it Akira Kurosawa’s or Alfred Hitchcock’s.
After having given birth to K-pop, a whole new genre of music, this may very well be a turning point for Korean Cinema. But is it for movies in general especially when I see Sam Mendes’s war epic 1917 NOT being named the Best Picture from the eight other novelty artworks nominated in the same category?
The painfully beautiful story of 1917 deserves the tag more than any other film (or equally for those who are emotional about the winner) for the tragic magic the one-shot movie created on screen. The movie running at three paces — visually, mentally and musically, was no short of a slow poison that brings to life hope by the end of it all. Even while playing on screen, 1917 is a reminder of the breakthrough techniques used to make cinema live up-to-date, eventually making it timeless.
Hitting the highest note of cinematic experience, the camera perspective made its audience the biggest part of the story-telling. No credits to that too? It also looked the biggest creation of all times, so far, for it seemed to also be a musical parody like Dunkirk, giving goosebumps sometimes with sound effects alone.
Surreal yet creepily real, mind-bending and heart orgasmic, 1917 is a tale running against time; there is no reason why this was not better than any of the eight films nominated: Ford v Ferrari, The Irishman, Jojo Rabbit, Joker, Little Women, Marriage Story, 1917, Once Upon A Time In...Hollywood and Parasite, of course.
Everything apart, what is done is done and if you go by reviews particularly after 1917 was nominated in key Golden Globe categories (because that’s exactly when the film’s power came to light), there are chances you will believe the movie was worth winning the biggest Oscar.
But isn’t the timing a little off, say by a year? Flashback to the event ceremony a year ago, when Alfonso Cuarón’s Spanish film Roma was the most likely to have won the Best Picture title but lost only to Greenbook, a take on African American racism. Call it political, inclusive or a move to break stereotypes, it seems change is for the better.
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