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Originally posted by Matt H. View PostI'd argue that INGLOURIOUS BASTERDS is his most mature (and best) film to date.
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I'd argue that INGLOURIOUS BASTERDS is his most mature (and best) film to date.
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I think a lot of the brilliance in Jackie Brown is derived from Elmore Leonard.
Has to be more than a coincidence that Tarantino's most mature and emotionally complex film is based on someone else's work.
Obviously Tarantino does a great job adapting it, I haven't read Rum Punch but apparently the film is quite different, but Leonard's virtues as a writer are pretty clear in the film.
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I've got no issue with the Bruce Lee fight. It's one of those absurd bits of Hollywood legend that because Bruce Lee looks the goods in a movie that he could take on beat anyone in the world in a fair fight. He's 5'6 and looks like he weighs 120 pounds. You don't need to know much to know much about the fight game to know that Bruce is very limited in the range of fighters he could take on. Hell, probably even if the fight wss between Brad Pitt and Lee rather than Booth and Lee, Pitt would have stood a chance.
What is a bit rough is how much of an arsehole Tarantino makes Lee. I don't know much about Lee but I hope he was a complete jerk to get that treatment on screen. A quick google on whether Lee thought he could fight Ali brings up this quote from Lee: “Look at my hand. That’s a little Chinese hand. He’d kill me.”
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Originally posted by null View PostSee Matt H's (and my previous) comment: He makes entertainments. He's not attempting, nor claiming, to solve any societal issue or problem.
All that to say that I appreciate Tarantino's thoughtfulness more often than not but think that he stepped over a line with DJANGO UNCHAINED. Maybe it's hypocritical for me to be okay with him fiddling with a nasty real-life murder or the holocaust but not with slavery but that's just how it shakes out with me. To be clear, I'm a fan of his who just happens to think he failed miserably in a few instances in his career.Last edited by Toyboy; 09-27-2022, 04:42 PM.
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Originally posted by Toyboy View PostThinking about my assessment of Tarantino's arguable lack of humanity, I think that in a more specific way his only concern in terms of his characters and their actions is how they serve the mechanics of his film. Again, not unique to him or his films but he holds fast to the ethos. Going back to Siskel & Ebert, I think it was in their review of JACKIE BROWN that they talked about the scenes between Grier and Forster and how we're not only seeing two middle aged characters discussing getting older but we're getting a glimpse of two middle aged actors doing the same. There's something happening outside the frame for the audience to pick up on, but I don't believe QT intended that. He's only dealing with what's happening inside the frame and the meta-text is accidental.
Originally posted by Toyboy View PostAnother example of this is with the hot water he found himself in a few years ago with the Bruce Lee scene in ONCE UPON A TIME. His only concern there was to show that Cliff Booth is both a lunkhead and a bad-ass by having him pick a fight with the toughest person in Hollywood at the time. It's all a set-up for Booth having to take on the most notorious killers in the 20th Century later on and the director is not at all worried about the optics of a white man throwing an Asian man into a car door. Of course, he couldn't have also predicted that the problematic nature of this image would be multiplied by 1,000 two years after his movie came out but regardless, he gets very defiant whenever he's called out for this kind of stuff with his defense usually being "It's just a fucking movie, okay."
Originally posted by Toyboy View PostObviously, it's not his job as an artist to be humanistic and his stock-in-trade is often presenting the worst in humanity, but that brighter stuff does poke through occasionally as in the dialogue between the older characters in JACKIE BROWN or Mia finally telling her joke in PULP FICTION or Bill making sandwiches in KILL BILL. Maybe it's a byproduct of the era in which they take place but his westerns veer too far into the muck for me and feel almost more like Eli Roth movies in a way.
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I always suspected the cutaway was due to the effect not working. I've seen pictures that look like an onion bhaji stuck on the side of his head.
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Originally posted by Toyboy View PostIn terms of the subject at hand and the artwork for this RESERVOIR DOGS release, I think it's a little odd considering that there's a deliberate cutaway from the ear removal in the film. I know we see the aftermath with a juicy closeup of the wound and Mr. Blonde carrying the ear, but this would be like a slipcase for PSYCHO that features a painting of Janet Leigh with blood squirting from her carotid artery and a butcher knife on the clear plastic that goes in and out of her neck and chest as you move it.
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In terms of the subject at hand and the artwork for this RESERVOIR DOGS release, I think it's a little odd considering that there's a deliberate cutaway from the ear removal in the film. I know we see the aftermath with a juicy closeup of the wound and Mr. Blonde carrying the ear, but this would be like a slipcase for PSYCHO that features a painting of Janet Leigh with blood squirting from her carotid artery and a butcher knife on the clear plastic that goes in and out of her neck and chest as you move it.
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I've always thought of Tarantino movies as entertainment and really nothing to analyze too deeply. All of his movies are really about the same thing: the love of cinema itself.
On the other hand, I do love the discussion.
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Thinking about my assessment of Tarantino's arguable lack of humanity, I think that in a more specific way his only concern in terms of his characters and their actions is how they serve the mechanics of his film. Again, not unique to him or his films but he holds fast to the ethos. Going back to Siskel & Ebert, I think it was in their review of JACKIE BROWN that they talked about the scenes between Grier and Forster and how we're not only seeing two middle aged characters discussing getting older but we're getting a glimpse of two middle aged actors doing the same. There's something happening outside the frame for the audience to pick up on, but I don't believe QT intended that. He's only dealing with what's happening inside the frame and the meta-text is accidental.
Another example of this is with the hot water he found himself in a few years ago with the Bruce Lee scene in ONCE UPON A TIME. His only concern there was to show that Cliff Booth is both a lunkhead and a bad-ass by having him pick a fight with the toughest person in Hollywood at the time. It's all a set-up for Booth having to take on the most notorious killers in the 20th Century later on and the director is not at all worried about the optics of a white man throwing an Asian man into a car door. Of course, he couldn't have also predicted that the problematic nature of this image would be multiplied by 1,000 two years after his movie came out but regardless, he gets very defiant whenever he's called out for this kind of stuff with his defense usually being "It's just a fucking movie, okay."
Obviously, it's not his job as an artist to be humanistic and his stock-in-trade is often presenting the worst in humanity, but that brighter stuff does poke through occasionally as in the dialogue between the older characters in JACKIE BROWN or Mia finally telling her joke in PULP FICTION or Bill making sandwiches in KILL BILL. Maybe it's a byproduct of the era in which they take place but his westerns veer too far into the muck for me and feel almost more like Eli Roth movies in a way.Last edited by Toyboy; 09-27-2022, 08:51 AM.
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I've found things to like in all QT's films but Django and Kill Bill II in particular are his weakest for me. Inglorious Basterds has grown on me although I still find elements of the post-inferno ending very flawed.
Once Upon a Time is my favourite film of his since Jackie Brown, he's good at the atmospheric hang out film.
Surprised that I've never seen him namecheck Altman as his best film have that loose, slightly stoned and meandering feel that Altman was a master at.
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Originally posted by Mark Tolch View PostHateful Eight was just QT trying like hell to make a Western that would be an epic like so many before it, but failing horribly.
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