The film reviews written to Quentin inevitably have to be mixed with shit and fart.
Romanticism under the aesthetics of extreme violence
The main line of the film is the story of the female killer Uman drinking cup killer leader Bill leading the killer to organize a bloodbath wedding and embark on the road of revenge. It is simple and straightforward. In Quentin’s works, there is never a shortage of tons of blood plasma and horizontal stumps. He always likes to show blood and violence naked on the screen, using a rich soundtrack, imaginative and evil actions. The design and the clean editing soften the hostility inherent in violence, making it easier for the audience to accept the violent aesthetics in the post-modern context that belongs to Quentin alone, giving people oppression and tension at the same time heartily To vent those primitive madness, desires and chaos. He is not like many works that use violence as the theme to reflect on the inferiority of human nature, society, and even the nation, nor is he like "Quick Chase" and other action movies based on reality that focus on the straightforwardness and truthfulness of punches. Let's talk about how Quentin brings the feeling of "beauty" to violence in detail.
1. Quentin's black humor: use some untimely or even unexpectedly evil eggs and plot sections to remind the audience "Why so serious, just for fun!"
2. Dramatic fighting scenes: With the help of Shaw's old studio, the action design is full of antiquity, vivid and eye-catching like a stage play
3. The switching of visual style: the single fight is enriched by the conversion of colors and scenes, and the diversified fusion is also very tribute and cult movie feeling (will be discussed in detail later)
4. Relaxed rhythm and use of close-ups: After a lively fight, the final duel with O-Ren Ishii appeared restrained and quiet. The close-ups of the faces of many small scenes did not give people a sense of depression. Rather, it showed more inner dramas, allowing the characters to stand better. The last strand of blood and strands of hair, against the backdrop of the flying snow, gave a sense of desolation and fate of defeat in the duel of the sword and halberd film.
5. The right soundtrack
Non-linear narrative
In "Pulp Fiction," Quentin used "circular narrative" and "multiple angles" to tell the world that stories can be told more than just conventionally. Without money, you can still make a famous film that goes down in history. As a world-renowned masterpiece, we don’t have to question Quentin’s skill in the structure of the play, but in "Kill Bill" he seems to disdain to "show his muscles" in this respect, and the narrative of "a tendon" is not given. There are thresholds for watching movies, but several Uman’s non-linear flashback introduction backgrounds also make the whole whole enough, compact and smooth . The main body of the movie is narrated by chapters that are similar to the novel, but I personally use black and white words to deliberately distinguish. Whether it is reasonable to hold reservations, I always think that for a film that is not composed of different short stories like "The Ballad of Buster Scruggs" and "Savage Story", it is still a bit of damage to the integrity and viewing Continuity.
Antitype
Quentin is simply the propaganda ambassador of contemporary cult movie culture. Quentin's works always surprise me. I think this is due to his rebellious spirit of disdain for mainstream culture and movie architecture. From the perspective of character setting , as a not new revenge film with a female perspective, Uman wants revenge but the perpetrators of the husband and accomplices who almost sent him away at the wedding. This screenwriter direction Enough to give the audience a good sense of freshness and curiosity. From the perspective of film and television styles , the splicing and mixing of various types of films, and the curious beauty of collisions in multiple styles, people enjoy such bizarre contradictions. I think this is also the reason why cult movie has so many fans and developed into a film culture. From the aspect of thematic expression , the disorder and chaos of life are most of the core issues in Quentin’s works. At the time when personal heroism prevailed, Quentin always liked to use counter-dramatic methods to treat the original scenes with prudence and seriousness. This kind of coincidence and accident is resolved in a ridiculous and even absurd way. Because the counter-plot form does not construct the usual storyline, there is no implied theme in the storyline. The biggest meaning is the structure itself. Life cannot be summarized as cause and effect. , There is no absolute protagonist. Death is not a useless effort, it's just that you happen to be in the wrong place, nothing more.
"Plaagiarism" and Tribute
Diversified audio-visual experience has always been one of Quentin’s work labels. As a non-disciplinary director, absorbing nutrition from classic works is an important part of Quentin’s early establishment of his own film language. Japanese samurai sword halberd film, inspired by Shao Hong Kong Kung Fu films, police films, western cowboy films, etc. under the influence of Wuxia... are particularly evident in the two works in the Kill Bill series. As a fan-type director, Quentin unreservedly presents his love to the audience. The beloved Eastern movies all incorporate modern themes, and are eaten by both Eastern and Western audiences. He once said: "Making this movie is like gluing my favorite mill movie and genre film for the past 30 years. This is how this movie is." For example, Bruce Lee's yellow uniform, Hattori Hanzo's katana. , Green Hornet's mask, etc...In addition to these visible elements, there are also "Hong Kong-style" fighting and the final snow battle inspired by "Xu Luo Xue Ji". The soundtrack of this film comes from the original soundtracks collected by Quentin. Although they are not original, they can be used so brilliantly, which is enough to show their talent. But due to space and personal abilities, this part will not start the conversation.
At last
As a series of works, it is still simple to talk about the sequel. With more funds, fighting and fighting tends to be more refined, and there is also a foreshadowing of the cause and effect. As the McGeffen throughout the series, Quentin used an unexpected, The logical ending gave Bill a happy one. If before Uman met Bill, Quentin’s bloody rivers and lakes created by his very personal audiovisual language brought a sensory impact to the audience, then finally calmed down. The relationship between the earth and the complex has raised the series a step higher in the core of thought. People are in the turbulence of resentment. Love may bring regret and reluctance, but the inseparable love is in front of the pleasure of "revenge". It's not worth mentioning, life is like this, there is no connotation, no reason.
To me, people are always nostalgic. In "Kill Bill 1", there are those roughness and bluntness that are unique to the b-level movies. These reflect the most primitive vitality of the film. At that time, the film workers did not have cg, no The green screen creates a world that can be temporarily separated from the present for the audience only with enthusiasm and rich creativity.
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