Parasite and the Mahabharata: The 21st Century’s Number One Film Inspired by Indian Mythology

The Nartanasala episode of the Mahabharata has a striking parallel in Bong Joon-ho's Oscar-winning film, which testifies to the timelessness of the universality of the epic's themes.

There is a very deep Sanskrit verse that describes the grand sweep of the Mahabharata
"Yad ihāsti tad anyatra, yannehāsti na tat kvacit" —
"What is here is found elsewhere; what is not here is nowhere else."

This line indicates that the Mahabharata, for all that it is a history or a mythos, is a full expression of human existence. Identity, morality, power, love, betrayal, and survival themes — all are woven into its sweeping narrative. And in the 21st century as well, these old themes echo in surprising ways.

Parasite: A Modern Echo of Nartanasala

Consider Parasite, the award-winning Korean film directed by Bong Joon-ho. Ranked the highest film of the 21st century by a New York Times poll of 500 critics, Parasite is the tale of the destitute Kim family's sophisticated penetration of the affluent Park family via an ingenious labyrinth. 

What few might know is that Parasite features astounding thematic connections with the Nartanasala section of the Mahabharata.
Disguise as Survival

In Parasite, every single member of the Kim family disguises themselves as a proficient professional — a tutor, a therapist, a driver, and a housekeeper — in order to gain employment under false pretenses. Their survival depends on keeping their true nature undercover.

Likewise, in the Nartanasala episode of the Mahabharata, the five Pandavas and Draupadi live incognito during their incognito stay in Virata kingdom. Yudhishthira is a courtier and dice player, Bhima is a cook, Arjuna is a transvestite dance teacher, Nakula is a horse groomer, and Sahadeva is a cowherd. Draupadi is Queen Sudeshna's maid. Their deception is not greed-inspired but due to the need to complete a vow and avoid detection.

A Turning Point of Violence Within the Host Household

One of the most compelling similarities between the two tales is in a turning point of violence perpetrated within the very home providing for them refuge.

In Parasite, the illusion is shattered when Kim Ki-taek murders Mr. Park in a fit of pent-up anger, caused by decades of insult and humiliation. The denouement reveals the class antagonisms underlying the movie and precipitates devastation.

In the Mahabharata, Bhima slays Keechaka, a strong and lecherous commander, who attempts to molest Draupadi. Although the reasons are different — class hatred in Parasite, and protection of a woman's honor in Nartanasala — both actions are a turning point when secrets start unravelling.

Diverging Endings: Tragedy vs. Dharma

Whereas the structure and themes are similar, the ending could not be more opposite.

Parasite concludes in tragedy and death, graphically describing class struggle and the fate of deceitfulness.
The Mahabharata, though, employs the Nartanasala episode to reinforce dharma. Keechaka's death brings about justice, and the Pandavas make ready to take their rightful place — their deceptions having been motivated by righteousness.

A Timeless Source of Narrative Wisdom

Whether or not Bong Joon-ho intended to do so, Parasite can be interpreted as a contemporary retelling of age-old themes that the Mahabharata spoke to thousands of years ago. That the epic remains so relevant is a testament in and of itself, that such comparisons are possible — not only within Indian storytelling, but within global narrative.

If the international admirers of Parasite had known the Mahabharata, they would have recognized in it the ancient template for one of the greatest stories of contemporary cinema.