Mickey 17 - scabrously entertaining film of class struggle

Mickey 17 is the fascinating new film by Korean auteur Bong Joon Ho, following on from the huge success of his 2019 Oscar-winning film Parasite. While carrying many of the same themes as Parasite, Mickey 17 is much larger in scope to go with its significantly bigger Hollywood budget, the biggest Bong has worked with to date.

Mickey 17 follows the story of Mickey Barnes, who together with his business partner Timo join an interplanetary colonising mission to escape murderous debt collectors on Earth. Without reading the fine print, Mickey signs up to be an expendable on board the four-year mission to the planet Niflheim. As Mickey dutifully explains through voiceover, he quickly realises an expendable is there to carry out the most dangerous jobs on board the ship. This includes exposing himself to deadly radiation, testing out vaccines and being fed experimental food and medicines. As an expendable, each time Mickey dies, his body is reprinted and his memories reimplanted within 24 hours. Mickey 17 thus, is the seventeenth iteration of Mickey Barnes.

Complications ensue however when Mickey 17 is left for dead on the frozen planet Niflheim. He survives and returns to the ship only to find that Mickey 18 has already been printed. The presence of two Mickey Barnes sets up a brilliant dual performance by English actor Robert Pattinson who manages to clearly delineate the two Mickeys with different personalities. Pattinson is best known for his roles in blockbusters such as Twilight and The Batman but has also had a far more interesting career outside the mainstream in works by auteur directors such as David Cronenburg and Claire Denis.

The presence of Mickey 17 and Mickey 18 however violates the strict rules against multiples after the case of a serial killer using multiples of himself to commit murders while escaping justice. If Mickey 17 and Mickey 18 are to coexist, they will have to escape the attentions of the mission’s leader, the failed politician, Kenneth Marshall. Marshall, having been voted out on Earth, decides to colonise Niflheim where he dreams of a perfect world inhabited by a new, white, super-race. Although director Bong Joon Ho has stated that Marshall is not a reference to any particular politician, Kenneth Marshall, as played in a skin-crawling performance by Mark Ruffalo, does seem to combine the genocidal rhetoric of Adolf Hitler with the clownish mannerisms and vanity of Donald Trump. Marshall is accompanied at all times by the Lady Macbeth like figure of his wife Ylfa, played by Toni Collette, who guides him and soothes his ego. There is also a wholly unnecessary side-plot in which Ylfa is on a quest to find the perfect sauce to serve with dinner.

A particularly memorable dinner scene with the Marshalls and Mickey 17, in which Mickey is served steak contrasts sharply with the indistinguishable slop Mickey is accustomed to in the rations. With the mission taking longer than expected and supplies starting to run low, of course as an expendable, Mickey had been subjected to much reduced rations of slop compared to other crew members.

The film does start to fray with a chaotic final act after Kenneth Marshall decides to exterminate the native creatures, so-called creepers, from Niflheim. But it fits in with much of Bong Joon Ho’s work which has often looked at human’s destructive relationship with nature. Indeed, as a film, Mickey 17 brings together so many of the themes explored in his previous works such as Korean language pictures Parasite and The Host as well as his Hollywood co-productions Snowpiercer and Okja.

The overarching theme of Mickey 17 though is class struggle and how workers are treated as expendable under capitalism. Mickey 17 is the extreme example but there is a clear divide in the film between those who do the work on the ship and those who are in control. The film also references the MAGA movement’s slavish devotion to Trump as plenty of people are on the ship because they believe in Kenneth Marshall and will happily follow him to the ends of the universe (literally).

The film has faced some criticism for not focusing more on the ethical questions around reprinting humans, or on Mickeys experience of dying. Characters ask Mickey what it is like to die, and he has no answer. In truth I think there are so many themes and questions in this film, it can be hard to focus on any one of them. Certainly, Mickey 17 as a film is not as sharp or tightly focused as Parasite in its political edge, but it is still fascinating to watch and scabrously funny. And while there have been concerns by film industry insiders that Mickey 17 will not recoup its enormous budget, Bong Joon Ho’s reputation as a brilliant film-maker remains intact.