Academy Award winning director Bong Joon-Ho marks his 6 year return since Parasite with a spectacular sci-fi epic into the future, reminiscent of ‘Okja’ and ‘Snowpiercer’ as anti-capitalism continues to be the talking point.
Does winning an Oscar change a person. Ask anybody that won. Some say yes and life is never the same again. Others say not at all. The show must go on. That’s not why we do things after all. For director Bong Joon-Ho, the latter seems to be the case. Following the historic Academy Award winning film Parasite, the first foreign language (Korean) feature to win the most prestigious prize, one would be pressed to ask, what is next for the history maker? It would be easy to want to retire, or perhaps get complacent and run out of creative spark for the next project.
But Bong decides to surprise the world by going on a different direction; adapting Edward Ashton’s novel Mickey 17 about a remote space colony run by a tyrant in unliveable conditions. Boasting a star studded cast with Robert Pattinson taking on the central role while Naomi Ackie, Mark Ruffalo, Toni Collette and Steven Yuen also starring. Yet here’s the catch. What if there were 2 Robert Pattinsons? Set in the year 2054, the film starts off with Mickey 17 embarking on a mission in the heavy snow, off a ledge and on the brink of death, accepting his repeated fate and ready to be printed out again (reborn), but fate seems to have other things in store for Mickey as the unknown herd of alien lifeforms decide to save him, unbeknownst at the time, and even start to communicate.
What doesn’t surprise is that Bong Joon-Ho loves to hate capitalism almost as much as he loves to make good films. As is tradition, Bong’s trademark style of commenting on class discrepancy and socio-political issues remains at large, bluntly so. The film doesn’t shy away from these as Mickey’s backstory unfolds. Showing how a regular person like Mickey Barnes can become the scapegoat and represent everything that’s wrong with the system under oppressive rule. People no longer have names attached and become just a number to those in power.
As the title suggests, to the failed politician Kenneth Marshall (Mark Ruffalo) and his smiling assassin like partner Ylfa (Toni Collette), Mickey is just another person, a nobody, a duplicate, a multiple that has no meaning beyond what they value him as: a dispensable object that bends to their will and carries out the interest of colonialism. The Trump like figure Marshall is presented with total seriousness and unrelenting desire to create his own colonial space, a planet filled with ‘white super people’, easy to think of the infamous German leader as a point of reference.
While Mickey Barnes (Robert Pattinson), his original name at least is at the bottom of the pecking order and faces the full extent of those in the lowest classes. A people pleasing orphan that is unable to think for himself and goes on whatever adventure his bully Timo (Steven Yuen) takes him, even if costly. This includes getting on the wrong side of gangs back on earth where their failed attempt at starting their own business – macarons, proves to have life changing consequences where they find themselves stowing away in Kenneth’s ship, not realising they signed up for the worst jobs possible; furnace supervision and becoming an expendable.
A role where your memories and biodata are stored in a brick like hard drive to endlessly reprint Mickey’s body whenever he faces the end of his days, even if it is just mere moments. The perfect role for someone to do all the dirty work. Need someone to go on a life threatening mission that guarantees no return for the original body? Mickey is your guy.
Bong Joon-Ho reinterprets the book and poses the ultimate question every living soul dares to and often desperately wonder, what does dying feel like? What does it even mean to die. He challenges us to confront our mortality in true Bong fashion. Taking literal means to show the scarcity of life and how the cloning system can thieve away the importance of life for those unable to die. In this case Mickey 17, or 18 rather. But Bong makes a key note as he shows the suffering of these people much to Kenneth’s amusement.
While it may seem like he takes great joy in being able to kill off Robert Pattinson’s body over and over, he certainly doesn’t exhibit those thoughts. In fact, Bong Joon-Ho is a humanist through and through. He merely wants to show people that life is not something to throw away, nor is it something to laugh about. Even if the irony can be found somewhere in that realm. His sincerity shines through as he doesn’t belittle Mickey, instead empathises and displays the effects of dehumanisation.
Immortality can be seen as a ticket to heaven yet it is often the responsibility of the lower classes in society to pay the price and get taxed out of a decent, normal life. It is all the more significantly concerning as Mickey’s own contributions render him insignificant, a role to be played that leaves him forgotten and misunderstood when he serves the most important purpose of all; searching for value in a worthless world. In these moments, it is Naomi Ackie’s character Nasha blessed with earnestness and unabashed affection that triumphs over the many evils with her goodwill and faith in Mickey. As an unintended part of the love triangle between 17 and 18, she encourages the opportunity and leads the resistance to forge out a new path for those living in the ship, hoping for salvation.
Capitalism is a curious thing. It falsely promises the expectation of a society where every individual life will be remembered and gain access to a greater living, speaking freedom into existence. Unfortunately, reality states the opposite as Kenneth Marshall’s ruling and empty dreams find people like Mickey having to endure the pain of thousands and starve with resentment for the system, waiting for the opportunity to capitalise and destroy the regime. Even if it takes speaking with an alien or death to undo the wrongs and fight for peace that humans deserve, even if the 1% makes you think otherwise.
Robert Pattinson continues to be one of the most exciting actors around with his latest performance displaying his versatility and commitment to the role, no matter how outlandish it may be, even a career best. As mentioned in the Berlinale press conference, inspiration is drawn from anime to handle the sudden 0-100 shifts between 17 and 18, embracing exaggerated expressions and unwieldy behaviour to truly embody the spirit of Mickey’s dignified spirit. While Toni Colette and Mark Ruffalo steal every scene with the latter proving to be the most captivating presence of the film. A dramatic touch that bleeds satire and fascination of how corrupt politicians truly are.
While capitalism and the love for people remain at the core of Bong Joon-Ho’s latest English language feature that may even be the best of the lot, it his signature direction and love for filmmaking that truly shines above all. With stunning production design utilising efficient blocking and sound. It is made for the eyes and ears, a pleasure for the senses. Bong has not lost his touch one bit and still can showcase why he is a worthy follow up to legacy makers like Martin Scorsese.
Overall, Mickey 17 is a visually stunning exploration of human advancement, even going as far as displaying the value of meaningful communication with alien lifeforms. As Bong Joon-Hu asks a poignant question on the nature of death. Bong is never one to be known for being subtle but his stories are defined by their depth, humour and significance. Layered like onions with plenty of rewatch value to take something new away from it all. It may not be perfect like Parasite but it doesn’t need to be. Bong Joon-Ho creates an ambitious ode to humanity, encouraging people to care more about their carelessness and challenge cruelty found in our world, no matter how bizarre.
The question now remains, where does Bong Joon-Ho go from here? Another English language blockbuster or perhaps a return to his roots in his native language. Wherever direction he takes, rest assured the fight against capitalism and the love for humanity continues. And that’s why Bong Joon-Ho is one of the best working directors today who remains steadfast in his convictions, when many concede and move on. Maybe a future where the people’s lives are not diminished could be possible. Only time will tell.
Mickey 17 releases in theaters on March 7.
