Editing-750 word analysis

 PARASITE- LAST SCENE (BIRTHDAY MASSACRE)

The birthday massacre scene from Parasite (2019) reveals how editing can enhance storytelling and heighten tension. The director utilises a range of editing techniques to juxtapose the chaos and violence of the unfolding events with the celebration and normalcy at the Park family’s garden party. The sequence’s editing is cleverly crafted and blends with cinematography, sound, and mise-en-scène to create an emotionally impactful moment that reflects the film’s underlying themes of class struggle and desperation.

The scene employs continuity editing to ensure clarity amidst the chaos, guiding the viewer through multiple perspectives within the house and garden. The camera alternates between the ongoing violence in the kitchen and the birthday party outside. As tensions rise, the use of cross-cutting becomes vital, switching between characters in different parts of the house. This parallel editing contrasts the carefree lives of the wealthy Park family with the hidden desperation of those they exploit.

The timing of each cut intensifies the chaos, particularly when Geun-sae emerges from the basement and begins his attack. For example, when he grabs the knife and rushes into the garden, the editor uses quick cuts to focus on his movement while also showing the reactions of others through their facial expressions. The use of match-on-action is also effectively utilised: such as when Geun-sae lunges toward Mrs. Kim, with the action continuing seamlessly across multiple shots. This technique allows the audience to follow the violent sequence without confusion, despite the rapid pace.

Close-ups  of the characters’ faces emphasize their shock and horror, particularly the Parks’ stunned reactions as their world of comfort is violently disrupted. These shots contrast with the raw desperation and anger in the expressions of Ki-taek and Geun-sae, reinforcing the class divide. Tracking shots follow the movements of the key actors, particularly during moments of action, such as Geun-sae’s stumbling charge. Wide shots of the garden provide context, showing the full scale of the disruption and highlighting the contrast between the pristine setting of the party and the bloodshed unfolding within it.

Sounds are also crucial to the effectiveness of the editing in this sequence. The diegetic sound of screams, footsteps, and the clattering of objects can clearly be identified and heighten the sense of panic. Meanwhile, the non-diegetic sound subtly underscores the rising tension, with music building in intensity as the scene progresses. The editor uses sound bridges to connect different parts of the scene, such as the continuation of party chatter overlapping with shots of the basement conflict. This technique maintains continuity and reinforces the juxtaposition of the two worlds: the Park family’s celebration and the hidden violence simmering beneath the surface.

Mise-en-scène also plays a critical role in this violent scene. The brightly decorated garden,  with balloons and a buffet, is a stark contrast to the dark, claustrophobic basement where Geun-sae’s rage is unleashed. This visual representation is emphasized by the editor’s strategic intercutting between these two spaces, highlighting the stark differences between the lives of the wealthy and the impoverished. Costumes further reflect this divide, as the pristine outfits of the Park family and their guests are juxtaposed with the bloodied and displeasing appearances of Geun-sae and Ki-taek. The editing ensures these visual contrasts are clearly seen in close-ups, medium shots, and long shots of each character in this scene: whether they are of upper class or lower class.

Lighting and colour also contribute to the scene’s impact, with natural daylight in the garden, emphasizing the illusion of happiness and normalcy. This is contrasted by the dim, shadowy lighting of the basement and kitchen, where the real, tenseful drama unfolds. The editor uses these lighting contrasts to heighten the tension, cutting between the brightness of the party and the darkness of the violence to underscore the apparent divide. Props, such as the birthday cake and the knife, are given further prominence through various shots, drawing attention to their symbolic significance in the scene.

The birthday massacre sequence from Parasite is quite clearly an immaculate scene that shows how editing, alongside other aspects of media techniques, can enhance a movie and make it engaging for the audience. By combining continuity editing, cross-cutting, and multiple other editing strategies, the film builds tension and delivers a gut-wrenching emotional impact. The integration of editing with cinematography, sound, and mise-en-scène creates a moment that is visually striking and deeply impactful, encapsulating the film’s critique of class inequality and human desperation. This scene exemplifies Bong Joon-ho’s mastery of film language and classifies Parasite as a modern classic.