Review: Mickey 17
Bong Joon-ho’s Mickey 17 delves into the expendability of human life within a capitalist framework, drawing parallels to contemporary socio-political dynamics and resonating with themes from his previous work, Parasite. The film offers a satirical yet poignant exploration of class disparities, corporate exploitation, and the dehumanizing aspects of technological advancements
At the heart of Mickey 17 is the concept of the “Expendable,” a role assigned to individuals like Mickey Barnes (portrayed by Robert Pattinson), who undertake perilous tasks in space colonization missions. These individuals are designed to be disposable; upon death, they are “reprinted” with their memories intact, ready to face mortality anew. This cycle underscores a chilling commodification of human life, reflecting a capitalist ideology where workers are viewed as replaceable cogs in a vast machine. Mickey’s repeated deaths and resurrections serve as a metaphor for the relentless exploitation inherent in such systems, highlighting the ethical implications of valuing productivity over individuality.
The film’s setting—a mission to colonise the icy planet Niflheim—serves as a microcosm of societal structures, with clear demarcations between the privileged elite and the labouring class. Leading the mission is Kenneth Marshall (played by Mark Ruffalo), a character reminiscent of contemporary political figures who epitomize corporate greed and authoritarianism.
Marshall’s leadership style and policies reflect a Trump-like ideology, emphasizing the divide between the affluent and the impoverished. This portrayal critiques the concentration of power and wealth, illustrating how such dynamics perpetuate inequality and suppress dissent. The crew’s interactions, living conditions, and access to resources on Niflheim starkly contrast the opulence enjoyed by Marshall and his inner circle, mirroring real-world disparities perpetuated by unchecked capitalism.
Mickey 17 shares some of the narrative DNA of Bong Joon-ho’s Oscar-winning film Parasite, where class stratification and the illusion of social mobility are central narratives. In Parasite, the Kim family’s infiltration into the affluent Park household exposes the fragility of their aspirations and the entrenched barriers between classes. Similarly, Mickey 17 portrays the systemic obstacles faced by the lower echelons within the hierarchical structure of the colonization mission. The expendables’ perpetual cycle of death and rebirth symbolizes the inescapable trap of poverty and exploitation, where attempts to transcend one’s socioeconomic status are met with systemic resistance. Both films utilize confined settings—the Park residence in Parasite and the Niflheim colony in Mickey 17—to amplify the tensions arising from class disparities, ultimately questioning the sustainability of such societal constructs.
Bong Joon-ho employs satire to dissect the absurdities of capitalist and authoritarian ideologies. Marshall’s character, with his overt narcissism and disregard for ethical considerations, serves as a caricature of political figures who prioritize personal gain over collective well-being. The film’s portrayal of the colonization mission as a corporate venture underscores the dangers of intertwining political power with corporate interests, leading to the exploitation of both human and environmental resources. The narrative critiques the notion of manifest destiny in space exploration, challenging the ethical ramifications of imposing human will on uncharted territories without regard for indigenous life forms or ecological balance. All of these themes make the film feel uncomfortably prescient.
Bong Joon-ho’s distinctive visual storytelling enhances the film’s thematic depth. The stark, cold landscapes of Niflheim reflect the isolation and desolation experienced by the expendables, while the sterile, clinical environments of the colony’s upper echelons symbolize the detachment of the elite from the human cost of their endeavours. The juxtaposition of these settings reinforces the chasm between the privileged and the oppressed. The film’s use of dark humour and absurdist scenarios serves to underscore the irrationality of systems that devalue human life in pursuit of profit and control.
Mickey 17 offers up a compelling critique of the expendability of humans within capitalist structures, drawing clear parallels to contemporary socio-political issues and resonating with the themes explored in Parasite.
Through its satirical lens, the film challenges audiences to reflect on the ethical implications of dehumanising labour practices, the widening chasm between the haves and have-nots, and the pervasive influence of corporate and political interests in shaping societal norms. Bong Joon-ho’s masterful storytelling invites viewers to question the sustainability of systems that prioritize profit over people, urging a re-evaluation of the values that underpin our collective existence.
