Parasite and Gullyboy ostensively belong to two different genres and two different worlds. However, their central premise converges in two particular scenes that encapsulate the dichotomy of the poor and the rich. The scene in question: The poor driver driving home the rich lady to her affluent household.
Zoya Akhtar had once stated that the poignant poem ‘Doori’ forms the crux of her film Gullyboy, the coming-of-age story of a rapper(Murad) from the slums of Dharavi. The poem, which begins “Kehne ko hum paas hai par kitni doori hai”, elucidates that Murad and the lady are so close yet so far. Despite the proximity in space, they are light years apart owing to the societal divide created by their respective financial statuses. Murad refrains himself from reaching out to the lady or comforting her because he feels smothered by the situation and realizes that his humanity is being paralyzed by the emptiness of his wallet and not his heart.
Parasite goes one step further and exemplifies how the very same event can create starkly contrasting outcomes to both the groups. While the ‘drizzle’ has set the perfect setting for an outdoor party, the ‘downpour’ has deprived the poor of their homes. The rich are so oblivious of the trials and tribulations of the poor that the downpour, which swept away a part of the city, serves as a blessing to them. The driver cannot help but wonder the difference in their lives and perspectives.
A strong parallel can be derived from the two scenes, which is duly amplified by the ominous silence and the helplessness of the poor.
Gully Boy (2019) Parasite (2019)