"Unscrupulous Bastard" was quite serious at the beginning, with a regular camera composition, a serious dialogue line, and a tense suspense plot, which set off the triumphant performance of Cannes actor Christopher Waltz. Then suddenly, the ferocious "Jewish Hunter" Colonel Hans took out an extra-large weird pipe from his arms, which made the audience roar with laughter. From the appearance of Hitler in the cloak, the cartoon flavor became more and more intense. Pete's scumming American Southern Barbarian accents; forcibly interspersed with the heroic deeds of the former Nazi Hugo Stiglitz who tortured and killed 13 people; Speaking of the flammability of nitric acid film, I made a temporary change to a documentary, added a voice-over description, and gave it a visual demonstration. Later, when I showed that the high-ranking German officials gathered in the movie theater, I even drew an arrow to indicate which is General Hermann and which is Martin Bowman. There was also a "ding" with an arrow sound, and I laughed so much that I was about to slide under the theater seat.
Crazy, really crazy!
The story is divided into five chapters, three clues, four teams, focusing from different directions on a certain theater in Paris, France during the Second World War. There are avengers for the father, assassinations, spies and seas, guilty and deserved. , There are also fish in troubled waters. From vivid photography to complex stories, from personalized characters to funny dialogues, there is everything, but there are no fixed patterns, no routines, no guesses, no ideas, surprises everywhere, and sultry at every step.
In fact, according to the hint of the trailer, most of the World War II stories with similar historical themes are heavy. Even considering Quentin's name as the "Master of Violent Aesthetics", it is nothing more than a bloody military story as expected. But from Chapter 1 to Chapter 5, I never thought that he could abandon all the established rules, from historical facts to narrative rules, from character creation to humanitarianism, there is nothing to taboo! However, the result of abandoning the rules is not inferior absurdity: the internal structure of the film story is closely connected, the clue logic is self-evident, the narrative rhythm is proper, the construction of suspense and the anticipation are well grasped, and the overall content and form of the story are completely matched. The performances of the actors are even more exciting, especially Christopher Waltz, who covers all exaggeration and introversion, and has a calm and exciting face. No wonder Ziegui Cana!
In the final analysis, Quentin’s abandonment rules are not without rules, he is creating new rules: the director is not unable to jump into the scene, even if the story is half of the story, it does not matter if a science and education demonstration is suddenly inserted; even if the story of World War II, there is no need to shoot the screen. The gunpowder was filled with tears, and the director and the audience occasionally jumped out of the story to have fun, and still maintained the fluency of the work; whoever said absurdity must be low-level, with the southern Italian of Pete and the swearing gestures of his companions, how can they not paint Arrow plus description? In addition, while playing freely, just like the violent spirit of the seven sages in the bamboo forest, Quentin still maintains a strong and coherent personal style: the violence embodied in the whole story of "Unscrupulous Bastard" The aesthetic concept is obvious; the two-faced arrogance style of Colonel Hans is simply a German copy of Jules, a member of the underworld in "Pulp Fiction"; Susanna's huge elevation face and the gloomy laughter on the screen in the raging flames are compared to the last gangster fight in "Falling Water Dog" , Behind the absurdity, Quentin's artistic charm has reached a new level.
Who could have imagined that movies could still be made like this, and stories could still be told like this. There is truth in the absurdity, full of hilarious laughter under the seriousness, with a tight rhythm and repeated climaxes. There is no one second that does not make people feel boiled, and there is no one second that does not control the emotions of people in the palm of the hand. When the movie is filmed to this level, history can be lost, no seriousness, any rules, traditional theorems, and laws are all thrown away. In the end, all the audiences will accompany Quentin to play alone, and have fun. The heart is rippling, playing crazy poetry.
This is Quentin's magic. This is the charm of movies.
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