[Reproduced] Li Jie: Impressions of Quentin's new film "Jiang Ge"

Westley 2022-03-22 09:01:07

"Jiang Ge" is a successful commercial film supported by several big-name actors. If the film was shot fifty years ago, it would be a challenging classic. However, in the era when black people became American presidents, not to mention kitsch is at least conforming to the trend and being politically correct. The plot is fair (this may be the reason why Quentin won the Screenwriting Award), and there is nothing new in aesthetics. The ending is too Hollywood. Also derived from Western films, Kurosawa Akira's "Seven Samurai" in the 1950s was ingenious and took it to the next level. The 2012 "Jing Ge" was just a rear-end copy. If you want to say good-looking, it may not be as good as "The Quick and the Dead", which is also played by Leonardo.

Quentin deliberately used German cultural elements, such as Nibelungen ring, Beethoven music, etc., in order to make himself as deep as possible in "Ginger". Hamlet talked about philosophy with his skull, while Leonardo played with his skull to perform a racial discrimination that even American elementary school students know to despise. Culturally, Quentin is too far away from the essence of Germany and British tradition. Even the violent aesthetics, the British "A Clockwork Orange" is enough to overshadow Quentin's efforts.

Myths are the psychological prototypes of a nation, and mythological characters are the true shapes of a nation. Quentin's ignorance lies in the misconception that comparing a black slave girl to a princess in Germanic mythology can both please the black Americans and deconstruct the central discourse of European culture. As everyone knows, the black Americans are not used, and the Germans will not take it for granted. This is like comparing American cowboys to Xing Tian, ​​which makes Americans feel inexplicable and makes Chinese people feel funny. What's more, there is no metaphorical connection between the black slave girl and the German mythical princess.

Quentin's "Jiang Ge" is similar to Stephen Chow's "Kung Fu", both of which are piecemeal imitations. The cruel killing is complemented by Beethoven's "To Alice", reminiscent of the scene of Hobkins in "The Silent Lamb" where he enjoys the piano sonata and kills. The Skeleton Theory is copied from "Hamlet". The revenge of the Jedi counterattack is an overused model in Hollywood movies. Not to mention the many western cowboy elements, almost all of which can be found in countless westerns. That's it, I don't want to say more.

Quentin's films have been enthusiastically praised by many intellectuals in mainland China, which once again proves the semi-literate status of these people in terms of aesthetics. Most left-wing literature, academics, and art in Europe and the United States can always find a market in the mainland. From Sartre in the 1980s to Derrida in the 1990s. It's the same in movies. It used to be Oliver Stone, and now it is Quentin's Jiang Ge, who is fighting all over the world. To say that it is superficial is to exaggerate. It can only be said that it is very entertaining and will not be tired watching playing.

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Extended Reading
  • Gennaro 2021-10-20 18:58:23

    Zero, there is a type of film called Quentin; one, Quentin only shoots this kind of film, but only Quentin makes this kind of film; second, this film is not so perfect, but it is more attentive than the shameless bastard; third, Quentin It may never reach the height of a vulgar novel, but this work is enough to revolutionize Western movies; fourth, the southern accent hurts, and some laughs do not understand, I will have to read the Chinese subtitles version in the future; fifth, forgive me for using so many semicolons, cuz Ima goddamn programmer.

  • Rubie 2022-03-23 09:01:09

    3.5. It’s not new that macaroni films have a disorganized structure and procrastination, but the ending of the film is unfortunately too superfluous. It should have ended in a contract and a battle, and the subsequent revenge is really lacking in technical and visual effectiveness. . Signing a contract and fighting a design is quite popular and exciting, not to lose to Leone. The characters are also bright and interesting. The play itself is relatively plain and long and has the effect of reducing points

Django Unchained quotes

  • Dr. King Schultz: [aiming .45-70 rifle at fleeing Ellis Brittle] You sure that's him?

    Django: Yeah.

    Dr. King Schultz: Positive?

    Django: I don't know.

    Dr. King Schultz: You don't know if you're positive?

    Django: I don't know what 'positive' means.

    Dr. King Schultz: It means you're sure.

    Django: Yes.

    Dr. King Schultz: Yes, what?

    Django: Yes, I'm sure that's Ellis Brittle.

    [Schultz shoots Brittle off his horse]

    Django: I'm positive he dead.

  • Calvin Candie: Hello. Stephen, my boy!

    Stephen: [black house servant exiting the Big House] Yeah, yeah, yeah. Hello, my ass. Who dis nigger up on dat nag?

    Calvin Candie: Aw, Stephen, you have nails for breakfast? What's the matter? Why you so ornery? You miss me? Huh?

    Stephen: Oh, yes, sir. I miss you like a hawg miss slop. Like a baby miss mammy titty! I miss you like I misses a rock in my shoe! Now, I aks you, who dis nigger on dat nag?

    Django: Hey, Snowball. You wanna know my name or the name of my horse, you ask me.

    Stephen: Just who the hell you callin' 'Snowball,' hoss boy? I'll snatch yo black ass off dat nag down here in the mud so fast make yo head spin!

    Calvin Candie: Whoa, whoa, whoa, whoa! Stephen! Stephen! Let's keep it funny. Django here's a freeman.

    Stephen: Dis nigger here?

    Calvin Candie: That nigger there. Let me at least introduce the two of you. Django, this is a another cheeky black bugger like yourself, Stephen. Stephen, this here is Django. You two oughta hate each other.

    Stephen: Calvin, just who the hell is dis nigger you feel's the need to entertain?

    Calvin Candie: Django, and his friend in gray here, Dr. Schultz, are customers. And they are our guests, Stephen. And you, you old, decrepit bastard, you are to show them every hospitality. You understand that?

    Stephen: Yes, sir. Him I understands, but I don't know why I got to take lip off dis nigger.

    Calvin Candie: You don't have to know why. Do you understand?

    Stephen: Yes, sir. I understand.

    Calvin Candie: Well, good. They're spending the night. Go open the guest bedrooms and get two ready.

    Stephen: [mortified] He gawn stay in the Big House?

    Calvin Candie: Stephen. He's a slaver. It's different.

    Stephen: In the Big House?

    Calvin Candie: Well, you got a problem with that?

    Stephen: Aw, naw, naw. I ain't got no problem with it. If you ain't got no problem with burnin' the bed, the sheets, the pillowcase, and everything else when this black-ass motherfucker's gone!

    Calvin Candie: That is my problem! They are mine to burn! Now your problem right now is making a good impression! And I want you to start solving that problem right now and get them goddamn rooms ready!

    Stephen: Yes, sir, Monsieur Candie.

    Calvin Candie: Go on, now.

    Stephen: Cain't believe you brought a nigger to stay in the Big House. Yo daddy's rollin' over in his goddamn grave, right now. Brought a nigger to stay with us. What kinda shit is that?

    Calvin Candie: Man, the lip on him! Whoo! He's getting worse and worse. Now, WHERE IS MY BEAUTIFUL SISTER?