The Host The Host is a film that is centered around a fictional monster that rises out of the fourth longest river in Korea, Han River and wreaks havoc on the people of Seoul and one particular family. According to the director of the film, Bong Joon- ho for the movie from an article that talked about had an S – shaped spine in Han River. During late 2000s, a pathologist from America commands his Korean assistant to throw away over 200 bottles of a chemical known as formaldehyde down a drainage system leading into Han River. He did this simply because he thought they were dirty. When the assistant resisted and claimed that the chemical would end up in the Han River, the American insisted and was quoted saying, “The Han River is very broad, …show more content…
The park is shown clearly as very dysfunctional as they are all flawed. The dysfunctional family unit is a clear picture of the instability within the political arena in South Korea. In the final scene, the family values are seen to have been restored by the crisis and the tragedy they have faced. Bong wants the viewers to identify the cost of change. As seen in the scene though Gang – du has lost his only daughter he has become a responsible parent as he has adopted the only survivor of the ordeal, a small boy. He also keeps an eye for any other monster that may appear. We see him looking out and pointing a gun to at a faraway point only to realize later that he had not seen anything but just his imagination. The chemical reagent that was used to fight off the monster easily referred to as ‘Agent Yellow’ is a reference to the orange agent that was used in Vietnam War that resulted in deaths, birth defects and disabilities. In the Host, Bong critiques the problems facing Korea society via a narrative vehicle and hence sharpening the satirical sensibility for the films to follow. The movie twists the horror to pathos to comedy and to action and back again. The parks battle the forces that try to tear …show more content…
However, it is a satire of an international scope and calls for analysis that forms a triangle between the international interventions, the South Korean state and the average family of Korean states who battle out with the monster. It is a superior blockbuster that highlights the Bong’s social and political concerns, merging with today’s tensions with the theatrically staged Panic endearing the monster feature making it a wide international