Let me talk about music first.
Throughout this segment of "Un Amico", the author is often Quentin's favorite film "The Good, the Bad and the Good" soundtrack, and the master of the soundtrack of Italian Western films-Enio Morricone. The tune first appeared as the theme song of the Italian film "Revolver" in 1973. In addition to the usual drums, cello, piccolo, and guitar, it also added the popular electronic music and mixing elements of the 1970s. At the beginning, the music was gentle and lyrical. Susanna felt soft for a moment. She heard the groaning and did not take a shot. Instead, she leaned forward and looked forward. The rhythm of the music accelerated, the drums gradually rose, and the mood of the music became tense, as if it heralded a turning point in the plot. Sure enough, the soldier who was shot turned over and fired three shots in a row. Accompanied by the scene of Susanna being shot, the music enters a climax. With the melodious accompaniment of the guitar, the cello becomes the main sound, and the rhythmic drums make the mood of the whole music both soulful and tragic, but also cold and desolate. The piccolo sometimes interspersed, accompanied by the slowly falling nemesis, expresses the sadness and beauty of death to the fullest. (PS: Quentin always likes to put music into the dominant position. It is said that he likes music because of genetic inheritance and family inheritance, because his father Tony Tarantino is a half-hearted actor and musician. More coincidentally, Quentin’s The first stepfather also played music.)
Rohmer published his first article "Movie is the Art of Space" in 1948. In 1987, at the “Painting and Photography” seminar, a common saying in film art was borrowed: three kinds of spaces were concentrated in the film—painting space, architectural space and film space.
About painting space.
The confined space of the projection room creates a stage-like dramatic scene, and you can even see the light and shadow effect of the stage chasing light where the soldiers fell. The moment Susanna looked back at the soldier, a soft side light hit her golden hair, and the Virgin Mary was instantly possessed. The sturdy girl who was still shooting and killing a second, looked softly at "Death." "Dai Bing," became one of Melanie Lauren's most beautiful clips in the film. The Jewish girl who "dreamed of killing Hitler when she was four" successfully burned Hitler in the film, but Susanna, who she played, was eventually killed by the Nazis (the one who still liked her). Shameless enough, bastard enough.
Under the interlacing light and shadow of the screening room, and the black and white images of in-play scenes that are inserted from time to time, Susanna's red dress is particularly moving. Red with blood, temptation, and revenge, at the moment the gun shot, it turned into an instant withered flower, mixed with blood motes, like the black feathers flying all over the sky at the end of "Dream Traveler". The soldier in the white uniform was the one who said that he couldn’t bear to watch the killing screen one second before, and the next second because he was provoked, he took "the three hundred corpses lying in Italy to prove that I am not the one you should refuse." inglovious bastards. For the evil character with the pure impulse and conceit of young people, and at the same time not forgetting to make up a shot at the end of his life, white is more suitable than the black and green of the high-ranking Nazi officials, and it is more in line with his identity as the "male protagonist" that night. The color contrast of red and white gives the whole picture a romantic beauty. Although what he showed was the death of two very young lives. The brown-red texture of the wooden floor, the flashing old-fashioned projector, the red and white young body, the whole picture presents the texture of a western classical oil painting.
About movie space.
Compared with violent scenes that are used to fast and sharp editing, the rhythm of this passage is relatively slow. Seven shots were used to express Susanna's expressions. The slightly elevated lens creates a rare "warmth" fragment in this film-the female protagonist shining with the glory of the Virgin looks at the soldier. In the subsequent counterattack footage, the focus shifted from the twitching face at the corner of Daming's mouth to the trembling pistol in his hand, the black pistol shining with cold light. All feelings like, sympathetic, puzzled, and angry at the moment of the last shot, all fall into hatred. According to Quentin’s favorite Godard, “Slow motion is not just a question of speed or rhythm, but also a way of observation.” The footage of Susanna’s shot falling down was upgraded for two consecutive times, prolonging the falling down. Action time. Full of Wu Yusen's violent aesthetics. It adds a sense of rhythm and music, romantic and poetic colors, and at the same time, the painful expression after being shot and the details of the fall are truly and painfully expressed. In addition, through the subjective lens of Susanna, the performance of the soldiers is interspersed. Black and white video footage. On the big screen, Dabing closed his eyes with helplessness and fatigue, which became an opportunity for the heroine to feel soft. When Susanna fell down, the screen shot showed the soldiers aiming and shooting. The movie shows the real cruelty. The movie has also become a cruel reality.
In this "war," Quentin, who abused the heroine like Hitchcock, finally showed mercy. (For comparison, please refer to "Kill Bill" with various flying knife deaths and headshot deaths; in "The Torment Chamber", he was tortured to death by a car, and in this film, the poor Diane Kruger was first severely pricked by Pete and finally strangled by Christopher alive. Death...) Through the soulful and tragic soundtrack, exquisite costumes and background, and poetic and romantic lens language, the most moving death in "Shameless Bastard" has been achieved. For the revengeful Jewish girl Susanna, his death is romantic like an ancient ritual. Not shameless at all, not assholes at all.
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