Turning on the computer, accompanied by the dim and soft light, Morricone's UnAmico sounded, and Melanie Roland's blood diffused into a rose-like blood mist...I read this again my favorite Movie clips.
I am more emotional about giving a good movie five stars. For a movie that touches me and resonates in my heart, I will not hesitate to give it five stars. And this movie is one of the movies that touched me the most.
Like Quentin’s most prestigious work, Pulp Fiction, what initially attracted me to watch this movie was its equally shocking name, a deliberately misspelled English word, graffiti-like handwriting, full of cynicism, eh! It is indeed Quentin. These nonsensical titles represent the most important feature of Quentin's movies in my eyes: absurdity. What is absurdity? An American World War II film, two-thirds of it is in foreign languages, there is no big battle scene, there is no heroic image of a magnificent battle. If there is one, he is still a German. Bayr was beaten into a sieve and died without dignity. World War II ended...this is absurdity. Quentin came out of the video store with a natural ruffian breath, so he can jokingly declare himself "vulgar" asshole. Going back to this movie, we will find that the last laugh is always the shameless. Among all these bastards, the first to bear the brunt is undoubtedly Eldor played by Brad Pitt and Hanselanda played by Uncle Wa. "Jewish Hunter" Hans is the most deeply rooted image created in this movie. He is shocked by four languages. He is clever and cold, confident and steadily controlling the overall situation. He will soon become the biggest hero in World War II and come to the United States to enjoy Life, but was killed by Eldor, who had been suppressed by himself before. At that moment, when the hunter was finally hunted, Hans finally understood the shameless power.
I can’t help but think of something that happened when I was in elementary school: that day, a few of our children were chatting with a new classmate who was transferred. A second-generation official in the class came over, hit the new classmate hard, and was about to leave. The new classmate grabbed his collar and raised his fist. We quickly stopped him and told him that this person was not offensive. How could he have said, "I don't care if I get scolded every day," and his fist fell. It seems to me as fast as lightning. That day was my happiest day.
Shameless to shameless, vulgar to vulgar, but there are certain characteristics in Quentin's movies that make people think that this movie is noble than anything else. This quality may be called "violent aesthetics", but I am more inclined to think of it as a kind of crazy poetry. It limits the madness of the film and bursts out at the last minute. I still remember the first time I watched this movie. I was stunned when Hitler died in the fire. People follow the rules, and geniuses create rules. That's probably what I meant.
Finally, I will talk about my two favorite scenes. In the first scene, Donnowitz beats a German soldier to death with a bat. The camera was constantly switching between the dark hole and the expressionless faces of the German soldiers, accompanied by the sound of bats, creating a strong dramatic tension. Throughout the movie, we will find that the most attractive characters are the Nazis, whether they are made by Zoller who loves to hate, the capricious Hanslander or the German soldiers who regard death as home. When the soldier said Bravery, the soundtrack and the audience's emotions reached the extreme. Maybe Quentin wants to show how pale and powerless the so-called noble qualities are in the face of shamelessness.
The second scene is the bridge section of the screening room mentioned at the beginning. Zoller is a very interesting character, he will do everything in pursuit of Sosanna, who he fell in love at first sight, but at the same time he is also a Nazi who killed three hundred enemies. Therefore, when Sosanna rejected him in the end, the self-esteem and power in his heart made him hate from love. In this scene, Zoller on the outdoor screen and Zoller on the floor indoors appear at the same time, accompanied by the right soundtrack, so that the impact of Sosana's death reaches an unparalleled peak.
Quentin is an author and director, this is now rampant in this IP, Disney's dominated Hollywood is commendable. The so-called "strong personal style" means that you can know who the author is when you look at the work. At present, the only one who can do this is Quentin, except for the "symmetrical crazy demon" Wes Anderson, and superhero movies obviously can't do this (except for Nolan, of course), because the stable business model pursued by Disciple is bound to be greatly improved. Reduce dependence on the director. After "Once Upon a Time in Hollywood", according to Quentin, he has only the last work left. Owning Quentin is the luck of this era, and this era is about to end.
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