The "Evidence of Death" at the helm of Quentin, like the second half of "Kill Bill", has purely spiritual and material localized copying, and has similarities with the cultural heritage advocated by its spiritual source. It is difficult for modern audiences to adapt to the shameful and boring dialogue in "Death Evidence", while the B-level film that was born in the city had to be mixed with all kinds of grains because of the small cost and big gimmick production method. The soap opera style dialogue generated by the continuation of the film length is one of the methods.
Now it seems that the biggest appeal of the audience for B-level films is the various behaviors that can transcend the norms, such as violence and the eroticism that embellishes them. In the opinion of the naughty boy Quentin, a large number of B-rated films have nourished his film career, and the emotional worship and proliferation are self-evident. Therefore, Quentin reproduced 100% of the works that all Americans have identified as B-rated film genres and reproduced 100% of the unique interest that he had indulged in the video rental industry.
Having said that, Quentin's native American experience bred by pure American culture has established that the greatest value of "The Mill" is to reproduce Hollywood B-rated movies. Therefore, while waiting for some extraordinary orgasmic passages, it is necessary to understand why those men and women are talking endlessly. Now I understand that, in fact, I am waiting for the eroticism of pole dancing, the rigid car chasing, and the unbridled high-intensity violence and blood. And the total of these dramas did not exceed one-third of the length of the film. It can also be said that people sitting in the two-piece second-level theater watching shoddy non-A movies looking for the excitement of waiting. This kind of scene, I am afraid that the domestic movie fans who have experienced the era of the video hall will feel the same.
Quentin likes to use modern film technology and standardized reproduction of non-mainstream movie production, but the product is highly responsive to the curiosity of people in the world today. This phenomenon is nothing more than satisfying several psychological demands. The first is nostalgia. The visual blockbuster piled up by the highly economical fast food culture lacks cultural accumulation. Just like modern people refuse to read but save a large number of electronic books in the hard disk, Quentin's movies invisibly reproduce the bookstores of the year. Scene. The second is the essence of B-level movies. With the support of modern film technology, these characteristics not only completely surpass the mainstream movies of the year, but also surpass the so-called visual blockbusters of today. The most powerful thing is that mainstream blockbusters are still under the strict control of the film system, only shocking but not exceptional, and the visual impact set by Quentin is completely highly stimulated by the B-level film's favorite way of rubbing the ball. The third is the personal charm of Quentin's combination. People who worship individuality feel Quentin's feelings like Quentin's feelings of movies. The cultural worship created by the times is not supposed to have a certain process of cultural accumulation in the past, but just be different. And Quentin is indeed a genius, of course an extraordinary achievement.
Nowadays, Quentin's achievements are not only manifested by his own artistic accomplishment and genius skills. As the creator of the self-made American dream, his free character also has a model that supports Americans who advocate freedom. At the same time, Quentin's work is a sublimation and admiration of Hollywood's model production. In a seemingly different perspective, Quentin has actually restored the true appearance of a B-rated film that has been replaced by a fake.
Unlike Quentin, Rodriguez is an admirer of American culture, but he is not an American citizen. In other words, he has his own cultural accumulation and is a fan of Hollywood movies. Therefore, in terms of perspective, it is also easier to be infected by the appearance of Hollywood movies, and "Planet of Horror" is a model. From the perspective of the second half of "The Mill", the film's operation mode has been reproduced with all the essence of Hollywood entertainment movies. The films controlled by Rogers spare no effort from start to finish. The super popularity and the various types of films covered are super perfect. This look and feel is more like a favorite movie that everyone knows.
Quentin took the helm to dismantle the structure of the B film, while Rodriguez's skill is entirely to entertain the public. Among them, zombies, gun battles, car chases, blood, violence, jazz and soft eroticism, etc. Hollywood brands derived from sensory stimulation are all sublimated to perfection in creativity and produce successive dramatic effects. "Planet of Horror" can be called American entertainment. The total assembly. Therefore, it is most appropriate to regard this half of "The Mill" as a formal B film. Just like the unexpected film loss and trailers in the film, it is more like an American movie in popular memory.
At the same time, Rodriguez's greater advantage as an outsider is the most comprehensive film reference. In "Horror Planet", the emotional interweaving of various people is even more fascinating than various entertainment elements. The inspiration for the grievances of the rotisserie owner and the sheriff’s brother seems to come from Wu Yusen’s bloody series. The sad scene of the final reconciliation must benefit from the Hong Kong-produced B film that Quentin is obsessed with, and these are the essence of Hong Kong films for us. Essence. Even the accomplished "machine gun beauty" is a beautiful illusion created by the CULT look promoted by the emotional changes that are transformed by encounters. Therefore, Rodriguez's B film is a perceptual product compared with Quentin, rather than the modelized reproduction that Quentin gave to the work.
Perhaps the cooperation between Quentin and Rodriguez is to control the audience through the structure of the two. One is theorized out of infatuation, and the other is formalized out of respect, but the combination of "The Mill" is indeed very realistic Fully reshaped all kinds of customs and styles about history, times, technology, and deconstruction. For modern times, the significance of this is not only in the niche sensation of the author's films realized by the cult of personality, but also in a large-scale popularization of common sense of film art (in fact, Hollywood movies). As a viewer, you can obtain the absolute pungent and exciting sensory needs, and you can also see the sincerity of reproducing cultural characteristics. As a film, the high degree of unity of vertical depth and horizontal breadth has also achieved a certain humanistic temperament of the film, not to mention the high degree of cooperation of such talented filmmakers.
It can be seen more clearly from "The Mill" that Quentin and Rodriguez’s partners are masters in creating highly entertaining film works, and they are also the dream representatives of grassroots characters in the perfect survival of the real social structure.
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