[1] The rebellious ruffian spirit Quentin made a playful and playful innovation of his favorite Western movie with a completely Quentin-style macaroni. The charm of Quentin's narrative stems from his unreality. There is no need to struggle too much with the authenticity of characters and plots. The requirement of realism is anti-Quentin. His unreality comes from his rebelliousness. He knows that World War II in Inglourious Basterds cannot be rewritten in this way; he knows that killing Billy's heroine cannot single-handedly take revenge on eighty-eight people; he knows that the racial catharsis to save Django is out of reality Yes, but that's the plot logic charm of the world he's building. Just like Tim Burton's Gothic fairy tales, to struggle with the choice of characters' IQ is as ridiculous as eating apples with Snow White and Cinderella wearing shoes. The beauty of fairy tales lies in simplicity and escape, while Quentin's charm lies in catharsis and fantasy. People who insist on exploring truth and social values are not suitable for Quentin's cinematic worldview. Just like Nolan once said that he filmed too real, but instead made his sci-fi settings always have people trying to find unreal loopholes. Nolan is conjuring magic, and every loophole is lost; Burton is writing fairy tales, and the characters' simplicity and childishness are feelings; Quentin is selling rebellion, but sometimes his world is too real for people to compare it with. [2] Quentin style Quentin never likes slow heat. Several of his works that focus on violent aesthetics all seek to get straight to the point and come to a small climax. In Killbill's Rattlesnake Battle, Inglourious Basterds began to slaughter Jews, and this Django still continues its violence and dark humor. At the beginning, there was a dramatic conflict. The chatter and Waltz's villain smile were a perfect match for Quentin's style. He killed two people in 20 minutes. The characters were unique and three-dimensional every minute. A rebellious black man did not want to be born into slavery; a rebellious white man despised slavery and started the story with a common goal. The sudden close-up of the face is like the top-down shot of Quentin panning the floor up and down through the wall. The climax after the death of the doctor, Quentin's love of blood is really as good as ever. On Quentin's violent aesthetics - I don't need beauty, I just need to be violent to the extreme. As always, if there is a disagreement, the gun is drawn, without warning. Quentin's own character's music after picking up a lunch in dynamite is really nasty and handsome. The hodgepodge of music in the movie is impressive. The music freedom when Django escapes for the first time is accompanied by the escape under the moon. The beauty of romance, cruelty and tension is really fascinating. [3] It takes less than three minutes for the two black people to fight in the characterization and the opponent play. The blood and screams perfectly depict the cruel image of the slave owner of the manor, the smiling little plum sitting on the sofa. The tension and tension between all the characters in this meet-and-greet scene is unparalleled, and Quentin is so good at creating an instant tension between characters' conversations. The small talk about killing Billy and the rattlesnake is still trivial, and the edge is too obvious. In Inglourious Basterds, it is even more beautiful. The Nazi leader intimidated and lured the Jews to go down at the beginning. The heroine first met the Nazi leader who killed her father, and the tavern accent exposed her identity. These few dialogue scenes are quiet, but they are highly tense. Most of these tensions come from the internal and external contradictions of the characters themselves. Django doesn't know anything about bingo fighting but pretends to be an expert. In front of Xiao Li, an expert character, of course, it will make people nervous. The second is the character's pretending to be calm, pretending to be wise and confident, and who is better than the opponent. Of course, this back-and-forth tug-of-war atmosphere of near-demonstration can certainly escalate in the town's residence. In Inglourious Basterds, Waltz's Nazi leader is clearly superior to the farm uncle, and the French shark's soldier character is strong and calm, and when playing games with Nazi officers, the tension of the story is pushed to the peak, and the lighting and camera are at the same time. The control is so good, coupled with a crazy and violent gun scene that hurts both sides, it is very impressive. Django's rival scenes at the dining table are even more tense without any superfluousness. As the shots of the old black housekeeper switch back and forth between the kitchen and the main hall, the audience's heartbeat also quickens. [4] Freedom and Racial Equality Countless times throughout the film, various characters are depicted with incredible expressions when they see Django on a horse. The immediate Django is the rescued Django, Django freeman. This is rebellion, resistance, progress, or innovation. Django on the horse is the unmistakable symbol of freedom, and after a brief captivity he is back on the horse for revenge. After making a slave equal, how many things can white people do that can't be done? Regarding racial equality, Quentin did not choose to preach, but showed us his understanding of equality at birth in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". Tavern accents reveal identity confrontation. These few dialogue scenes are quiet, but they are highly tense. Most of these tensions come from the internal and external contradictions of the characters themselves. Django doesn't know anything about bingo fighting but pretends to be an expert. In front of Xiao Li, an expert character, of course, it will make people nervous. The second is the character's pretending to be calm, pretending to be wise and confident, and who is better than the opponent. Of course, this back-and-forth tug-of-war atmosphere of near-demonstration can certainly escalate in the town's residence. In Inglourious Basterds, Waltz's Nazi leader is clearly superior to the farm uncle, and the French shark's soldier character is strong and calm, and when playing games with Nazi officers, the tension of the story is pushed to the peak, and the lighting and camera are at the same time. The control is so good, coupled with a crazy and violent gun scene that hurts both sides, it is very impressive. Django's rival scenes at the dining table are even more tense without any superfluousness. As the shots of the old black housekeeper switch back and forth between the kitchen and the main hall, the audience's heartbeat also quickens. [4] Freedom and Racial Equality Countless times throughout the film, various characters are depicted with incredible expressions when they see Django on a horse. The immediate Django is the rescued Django, Django freeman. This is rebellion, resistance, progress, or innovation. Django on the horse is the unmistakable symbol of freedom, and after a brief captivity he is back on the horse for revenge. After making a slave equal, how many things can white people do that can't be done? Regarding racial equality, Quentin did not choose to preach, but showed us his understanding of equality at birth in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". Tavern accents reveal identity confrontation. These few dialogue scenes are quiet, but they are highly tense. Most of these tensions come from the internal and external contradictions of the characters themselves. Django doesn't know anything about bingo fighting but pretends to be an expert. In front of Xiao Li, an expert character, of course, it will make people nervous. The second is the character's pretending to be calm, pretending to be wise and confident, and who is better than the opponent. Of course, this back-and-forth tug-of-war atmosphere of near-demonstration can certainly escalate in the town's residence. In Inglourious Basterds, Waltz's Nazi leader is clearly superior to the farm uncle, and the French shark's soldier character is strong and calm, and when playing games with Nazi officers, the tension of the story is pushed to the peak, and the lighting and camera are at the same time. The control is so good, coupled with a crazy and violent gun scene that hurts both sides, it is very impressive. Django's rival scenes at the dining table are even more tense without any superfluousness. As the shots of the old black housekeeper switch back and forth between the kitchen and the main hall, the audience's heartbeat also quickens. [4] Freedom and Racial Equality Countless times throughout the film, various characters are depicted with incredible expressions when they see Django on a horse. The immediate Django is the rescued Django, Django freeman. This is rebellion, resistance, progress, or innovation. Django on the horse is the unmistakable symbol of freedom, and after a brief captivity he is back on the horse for revenge. After making a slave equal, how many things can white people do that can't be done? Regarding racial equality, Quentin did not choose to preach, but showed us his understanding of equality at birth in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". With an air of confidence, who is more modest than the other party, this kind of back-and-forth atmosphere, which is almost a demonstration, can of course be tense. In Inglourious Basterds, Waltz's Nazi leader is clearly superior to the farm uncle, and the French shark's soldier character is strong and calm, and when playing games with Nazi officers, the tension of the story is pushed to the peak, and the lighting and camera are at the same time. The control is so good, coupled with a crazy and violent gun scene that hurts both sides, it is very impressive. Django's rival scenes at the dining table are even more tense without any superfluousness. As the shots of the old black housekeeper switch back and forth between the kitchen and the main hall, the audience's heartbeat also quickens. [4] Freedom and Racial Equality Countless times throughout the film, various characters are depicted with incredible expressions when they see Django on a horse. The immediate Django is the rescued Django, Django freeman. This is rebellion, resistance, progress, or innovation. Django on the horse is the unmistakable symbol of freedom, and after a brief captivity he is back on the horse for revenge. After making a slave equal, how many things can white people do that can't be done? Regarding racial equality, Quentin did not choose to preach, but showed us his understanding of equality at birth in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". With an air of confidence, who is more modest than the other party, this kind of back-and-forth atmosphere, which is almost a demonstration, can of course be tense. In Inglourious Basterds, Waltz's Nazi leader is clearly superior to the farm uncle, and the French shark's soldier character is strong and calm, and when playing games with Nazi officers, the tension of the story is pushed to the peak, and the lighting and camera are at the same time. The control is so good, coupled with a crazy and violent gun scene that hurts both sides, it is very impressive. Django's rival scenes at the dining table are even more tense without any superfluousness. As the shots of the old black housekeeper switch back and forth between the kitchen and the main hall, the audience's heartbeat also quickens. [4] Freedom and Racial Equality Countless times throughout the film, various characters are depicted with incredible expressions when they see Django on a horse. The immediate Django is the rescued Django, Django freeman. This is rebellion, resistance, progress, or innovation. Django on the horse is the unmistakable symbol of freedom, and after a brief captivity he is back on the horse for revenge. After making a slave equal, how many things can white people do that can't be done? Regarding racial equality, Quentin did not choose to preach, but showed us his understanding of equality at birth in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Quentin did not choose to preach, but showed us his understanding of the equality of life in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant". , Quentin did not choose to preach, but showed us his understanding of the equality of life in the most straightforward, violent and cool way. Using racial discrimination to fight racial discrimination, the nigger throughout the article, the characters who are really hunted, despised and disgusted, are all white except the old black housekeeper. Sometimes innovation is inherently rebellious, just like Copernicus did not believe that the earth is the center, and Darwin did not believe that God created man these "natural" things. The pioneers of innovation are inherently inseparable from "deviant".
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