January 2, 2018

The Flower Girl: Total Class

"What is the matter with the poor is poverty; what is the matter with the rich is uselessness."

You can depend on George Bernard Shaw when you're looking for a good quote about class. And the zinger above applies as nicely to the North Korean drama The Flower Girl as it does to all spirited "power to the people" movies that address the struggles to survive when you're flat broke and the boss couldn't give a rat's ass. Per usual, the unscrupulous landlord (Ko So Am) and his irritable wife never notice how hungry and destitute their tenant-servants are. They mistake their own mean-spirited gestures towards sustaining subsistence with acts of generosity. As the "haves," they're all about "me, me, me" while the "have-nots" are sometimes sick, widowed, and stuck with three kids (and no help in sight). As we all know, the silk-gloved hand is usually the last to reach out to help and the first to grab back what it feels it owns. Indeed this particular batch of rich rubes is making matters worse for one particular downtrodden mother (Ru Hu Nam) by scalding her younger blind daughter (Son Pak Hwa) then demanding rent money or eviction when the poor ailing matriarch desperately needs some medicine. What's a flower girl (Hong Yong Hui) to do?

I like that this movie passes no judgment when the infuriated son causes a fire at the landowners' property then escapes from the chain gang then storms the not-so-fine folks' fine house with his enraged fellow villagers upon his return. The people united shall never be defeated. Though not as witty as Shaw, that's also true. Released in 1972, The Flower Girl doesn't feel North Korean in its politics so much as Marxist. Equal distribution of wealth, working as a community, striking down the upper class (and the imperialist Japanese) by taking to arms... Hey, it can happen. The only problem here in the USA is that most people don't want equality, they want to be rich. Even Shaw's flower girl Eliza Doolittle is tempted to marry into money. And who can blame her?

No comments:

Post a Comment