Attention – this article retells the contents of my video, and watching the video is a more winning option, because it gives harmony between content and picture. I hope you check it out.
It contains spoilers for the following paintings:
*Memories of murder
*Inglorious bastards
*Dzhango freed
*Menile eight
*Once … in Hollywood
So, the 2004th year, Quentin Tarantino for the first time visits Moscow as a guest of the 26th Moscow International Film Festival at the invitation of the Mikhalkov Barrino in order to present the second part of “Kill Bill”. Barin, by the way, once called the “criminal fiction” with a cheap gangster fighter, but this is a story for another time.
Upon arrival, instead of going to the hotel or talking with colleagues-kinematographers, Tarantino asked him to be taken to the grave of the poet Boris Pasternak in Peredelkino. There he stayed for about an hour – he sat near the tombstone and even acquired it, cried a little, and then fell into a trance for a short time. And after that, he asked him to be taken to McDonald’s, where he managed to take a burger with potatoes and leave before the stunned fans found something on which Tarantino could sign.
Why is this introduction-Pasternak is primarily known for the artistic novel “Dr. Zhivago”, in which he describes the fate of the intellectual doctor against the background of the first half of the twentieth century with his revolutions, as well as civil and world wars. As Dmitry Bykov, one of the main biographers of Pasternak, expressed aptly, “this is a novel of Pasternak’s life, what he would like to see her, but which he could not live.
In general, Zhivago in the novel is represented by the bearer of Christianity and its main values, namely mercy, forgiveness and generosity, opposing all of the hell that is happening around. And what else does Christianity provide us – correctly, the models of two warring parties – good and evil. And if good – it is so simple and understandable, then evil is complex and ornate, which is expressed in the image of Komarovsky’s lawyer, who has grimaces Lara, the main character of the Pasternakian novel.
And Tarantino uses this model to story his stories – a simple good against perverted evil. A detachment of bastards against Hans Landa, Django against Kalvin Candy, Mannakes and Warren against the Daisy gang. Dalton and Buff vs Charles Manson.
The model of the https://jettbetcasino.uk/mobile-app/ confrontation between good and evil cannot be attributed to the early work of Quentin, such as “frantic dogs” or “criminal fiction”. There, a karmic punishment for actions falls on the heroes.
True, Christian non-resistance to evil is replaced by opposition, hail of bullets and the desire to do everything in support. It is clear that in his films this is much more complex, because Tarantino is a postmodernist, and what distinguishes the fixed postmodern from modern and classics – correctly, a strong support for context, the presence of a sense of humor, the ability to laugh at himself, as well as metatakestalism.
Want the examples of metatexual in the last work of Tarantino – here’s a couple for you. Brad Pitt for the second time plays the role of a stuntman in Tarantino’s paintings. This happened for the first time when his hero Aldo Rain pretended to be an Italian stuntman at the premiere of the film in the last third of “inglorious bastards”. Or the partner of the hero of DiCaprio on the site – James Staisi. His role was played by Timothy Oliphant. It is noteworthy that Oliphant was famous for the role of the lawyers in the revisionist "Dedwood" and the neo-west "Justice".
Unfortunately, I do not know how to implement Taranthin Tarantino into this model, so I will wait for your proposals in the comments … Although, in principle, it can be applied when talking about historical audionism, the reception of which Tarantino uses in his fourth picture in a row, and they say he decided to shock us with new ideas about sexual female feet ..
So, historical revisionism of the brown-this is when we take a certain technique or genre and review it. We will analyze the example of the Western genre-there was a romantic image of the Wild West, a fair hero, an insidious bandit, evil Indians-just do what to indulge in adventures in the prairies-and now we take off this romantic Fleur and get at the exit that the Wild West is not the very heavenly place on the ground, and in general on the streets of these towns it stinks of shit, and it is impossible to breathe that you can’t do with sand that A fair hero turns out to be a scum of personal benefit that the bandit is not so bad and tries to provide their community, and that evil Indians are not because they are evil, but because they want to maintain their territories.
Tarantino goes further in his revisionism, and that is why when he shoots a film about the Second World War, in it a detachment of Jews destroys the Nazi command, and the black slave arranges the genocide of the white population of the south of America. This trail, when the victim becomes the executioner Tarantino, repeats the fourth time in his career – he was in “proof of death”, in “inglorious bastards”, in “Django” and in the fat spoiler, close the ears “Once in Hollywood”. It is clear that in isolation from the context, when you do not know the story of the murder of Sharon Teit, and the Holocaust for you is some kind of Jewish holiday, then those things that work because of the context will not work for you.
However, what inspires Tarantino to create such a movie? Let’s turn to his list of the best paintings shot since 1992, from the moment Tarantino himself came to direct.
We open and find in it the South Korean thriller "Memories of the Murder" by the authorship of Pon Jun-Ho. This film tells the real story of how the police hunted for the Shzason serial killer for five years. The maniac strangled ten women, and law enforcement officers failed to find him. How the director got out in this situation, because this story has no ending – very simple. The final of the picture takes place several years after the events shown in it. The main character of the film, who managed to resign, passing by the place where the first victim of the killer was discovered, decides to take a walk there. A little girl is knocked out of the rut, who tells him that some uncle was hanging around a couple of days ago. The former policeman grabs this thread, because as you know, the offender always returns to the crime scene, and asks the girl to describe this guy, to which she answers him that he seemed to her ordinary. The hero understands that they will never catch him, despair, and then looks directly into the camera, as if trying to find the killer in the cinema or on the other side of the monitor and look into his eyes. Titras are coming.
What Tarantino does is the direct opposite of what the South Korean wizard did. If Pon Jun-Ho tries to terrify the thought that the killer is still free, he is unknown, and is quite sitting next to you in the cinema, then Tarantino gives the necessary catharsis for the victims, thus releasing steam. Why do we need a movie if we cannot realize our fantasies in it, if we cannot truly come off? Hitler put a bullet in the forehead in the bunker? This is unfair – they will release in our head a clip from a machine gun. The slave owners led to black as a cattle? Excellent, then we will have a dude who will punish them.
Civil war is terrible. And let’s unite both sides against the general threat!
It is curious that the thirst for justice drives Tarantino not only ideologically, it moves them in his approach to cinema. For example, here is a quote from Tarantino from an interview that he gave to the Komsomol, on the occasion of the premiere of “Evidence of Death”, to the question of the seriousness of his films:
– Ha! I have been invited to the Cannes festival for 16 years, his mother, because I, in your opinion, have been making frivolous films? Someone calls them "low", but not me. For me, making a film about blondes in prison is an equally respectable lesson than filming Henry James’s novels. With the only difference: I do not like Henry James’s novels Henry James at all, but the films about blondes in prison are miracle how good! And I want to shoot just such paintings. I return the “low”, half-forgotten genres (such as spaghetti western) respect, which they deserve. And modern sound, your mother! And I do it in the style of “crazy Quentin”, which means that they are not like anything. Except, of course, a fucking Quentin, because it is me!
And strangely enough-Tarantino was always an auditor-and when he gave his main work the name, which refers to the Boulevard books of the 40s, and when he took the main role in Jackie Brown to the Blaxplokteisen of the 70s, and when he added to the scenario of the vampire zombie, instead of the dead, and when Musted over the media, creating the story of modern Bonnie and Clide, who at one time were also promoted by newspaper men.
Whether Tarantino coped with his task of returning respect for half -forgotten genres? At a minimum, we can ask ourselves, if not for Tarantino, he would have received Western Renaissance? We will not recognize the answer to this question, because history does not tolerate subjunctive mood. However, that we already know – we know that Tarantino has a strong moral compass – each of his heroes is given according to his merits – that he hates injustice and loves Pasternak.