comic book legend

Laurie 2022-01-29 08:06:06

In short, this is a revolutionary romantic film, a saga of a one-man hero, a great friendship between two men. Of course, the tone of saying this is just like the film itself, which is ridiculing and joking, but it is not so casual.

In some places, only the soundtrack is used to narrate the story, without a single word, and it is all romantic.

Because it was related to the bomb, the director portrayed the smoke three times. One was the appearance of Sean, who saw the smoke in the distant mountains from Juan's eyes; In the middle shot, the billowing smoke is as majestic and poetic as the water of the Yellow River; in the end, it is the death of Sean, which is a close-up shot for several seconds. The smoke rolls around the screen, and in the faint firelight, a transparent three-dimensional appearance appears in the lower left corner. gray-red swirls.

Sean's appearance is an accidental comic: the painting style is American-style tough and colorful, and the narrative style is Japanese-style brisk, subtle and exaggerated; his outfit is like the great savior of Miyazaki's mechanical age. Shame on others.

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Extended Reading
  • Randi 2022-03-26 09:01:13

    Duck, You Sucker. good name

  • Julio 2022-03-26 09:01:13

    The 157-minute version begins with a quote from Mao Zedong's theory that "revolution is not a dinner party", indicating that in addition to the consistent motif of Leone's films (the brotherhood and tacit understanding between men), the profound implications of political revolution must also be discussed. : On the surface, this is a revolutionary epic wrapped in the garb of a heroic legend. The bandit leader Juan only wanted to rob a bank, but by accident he became a revolutionary hero touted by everyone; while the real revolutionary hero Sean was stabbed in the back twice. , the ultimate sacrifice. What is discussed inside is the essence of revolution: the people at the bottom who have done their best in the revolution are greeted by rulers with similar appearances one after another, and the common people are suffering from rise and fall. After the idealized and infinitely magnified revolution (shrouded in soft light) The flashback fragment of the symbol symbolizes the romance of the revolution), where will the people of the future go? For Leone, this work has added more commercial elements, such as large-scale scenes (the bombed stone bridge in the middle and the bombed train at the end) and more humorous parts, but his strong The author's feelings are still preserved, and the tone of the two paragraphs before and after has changed significantly. Did Cobain Leone not find Cliff's spare tire?

Duck, You Sucker! quotes

  • Juan Miranda: Listen, Günther Ruiz is after us, and now Villa wants to talk to me, I think we should get outta here.

    Sean Mallory: [puffing on cigar] Well, Jesus, Juan-o, you can't leave now, you're a great, grand, glorious hero of the revolution.

    Juan Miranda: Uh, can I tell you something?

    Sean Mallory: What?

    Juan Miranda: [whispering] Fuck you.

  • Juan Miranda: What's that?

    John H. Mallory: It's a map.

    [Juan lies down on top of it]

    John H. Mallory: It's your country you're lyin' all over, there!

    Juan Miranda: [drowsily] Hm-hm. Not my country. My country's... me and my family.

    John H. Mallory: Well, your country's also Huerta, the governor, the landlords... Günther Ruiz and his locusts... this little revolution we're having here.

    Juan Miranda: [alert] A revolution? "Little revolution"? Please, don't try to tell me about revolution! I know all about the revolutions and how they start! The people that read the books, they go to the people that don't read the books, and say "Ho-ho! The time has come to have a change, eh?"

    John H. Mallory: Shhhh...

    Juan Miranda: [mimicking John] Sh, sh, sh, sh, sh, SHIT, SHUSH! I know what I am talking about when I am talking about revolutions! The people who read the books go to the people who can't read the books, the poor people, and say, "We have to have a change." So, the poor people make the change, ah? And then, the people who read the books, they all sit around the big polished tables, and they talk and talk and talk and eat and eat and eat, eh? But what has happened to the poor people? THEY ARE DEAD! That's your revolution! Sh... so, please... don't tell me about revolutions. And what happens afterwards? The same fucking thing starts all over again!

    John H. Mallory: [exhales] Whew. Hmmm.

    [throws a book he was reading into the mud: Mikhael A. Bakunin, The Patriotism]