A handlebar mounted LCD screen shows battery charge, voltage, speed, and odometer and trip distance. Front dual-suspension and 4-inch fat tires provide excellent off-road performance and help you climb hills with ease. The F95 allows you to kick your ride into motion and tackle rough terrain (sand, gravel and mud) using our most powerful frame-mounted 1000-watt motor powered by a 48-volt 17AH Samsung battery. In colour.Overview – F95 1000w Bafang motor 17AH Samsung battery + Hydraulic Brakesįat tire electric bikes are quickly rising in popularity. It gave me a renewed appetite to watch the film all over again. There is something very startling about this specialist monochrome-flavour version of Parasite. It’s a different sort of queasiness and dreaminess than the colour version … but not necessarily better. And there is something very queasy and dreamlike in seeing the final bloodbath in black and white. Monochrome gives something very elegant to the Park family’s illuminated glass crockery cabinets positioned either side of the cellar door, replaced later with wine bottles and glasses. Yet it is too reductive to say that only the “lower-class” parts of Parasite are better in black and white.
(But then this is why Scorsese preferred Raging Bull in black and white.) When violence erupts, the splashes of blood are less overtly shocking in grey. We don’t see the house’s magnificent decor in all its richness and out in the garden, the vivid blue of the sky and rich green of the grass are no longer. It’s when the action moves to the wealthy household that things become less satisfying. And when the whole place is submerged in smoke from the fumigation official, the resulting fog is hilariously stylised, as if Nosferatu is going to emerge from the mist.Īnd in fact, when all their con-trick shenanigans start to kick off in earnest, the black-and-white Parasite emphasises another Brit dimension that I’d only vaguely sensed from the original: an Ealing comedy. In the opening section of the film, seeing the family’s scuzzy and ineffably yucky flat in black-and-white gives it an intriguingly kitchen-sinky, Brit social-realist look that it didn’t have before, especially when the son and daughter hunch together over that nasty lavatory that is raised on to the flat’s chaotic “mezzanine” level. The performances came across quite superbly enough in colour – the monochrome advantages and disadvantages lie elsewhere. And all the time, the naïve mistress of the house (Cho Yeo-chong) and her overworked husband Mr Park (Lee Syun-kun) get the wool pulled over their eyes, until everyone realises that another terrifying trick is being played on all of them.īong has said the advantage of black and white is that it allows the performances to come across more strongly. The daughter gets to tutor the kid brother (Jung Hyun-jun) in art, the mum ousts the existing housekeeper and the dad takes over the driver’s job. When the son is engaged as a tutor for a rich kid (Jung Ji-so) from a privileged family who live in a colossal modernist house in the posh part of town, he sees how he can get his entire clan employed there too, pretending to be unrelated strangers. So here we are again, with the cheeky Fagin-style charlatan family – loafer dad (Song Kang-ho), grumpy mum (Chang Hyae-jin), moody teen son (Choi Woo-sik) and smart daughter (Park So-dam) – living in a squalid semi-basement flat and sensing a once-in-a-lifetime opportunity to get rich. After a short pause, she had to break it to me that those fierce colours in the garden were not entirely natural and nobody was falling down the cellar stairs for real. At the Berlin film festival last month, an industry executive asked me if I thought black and white would help Parasite’s CGI effects. It’s invigorating to see this tremendous film again on any basis, in a way that goes some way to restoring the shock of the new. It does have to be said that there is a real fascination in seeing Parasite through the monochrome lens, and it has a certain crystalline beauty – but then it did in colour.
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