Sunday, May 17, 2020

The last Tarantino’s film, which I didn’t see.


A reason of watch Once Upon a Time in Hollywood was in review writing, where I see interesting to thought more about director and his filmography than on a movie, which didn’t look promising since a moment of announcement in what time will happen action. Doubts were going on in further. I’ve learnt till reading of story and eventually took a decision to don’t watch. A length in two hours and forty minutes reminded me about people, who thinks that can do an epic canvas and one of after watching conclusions is that – it needs in cuts.

Reservoir Dogs and then Pulp Fiction disclose innovation directing and excellent scriptwriting in Quentin Tarantino. Films have interesting characters, elegant building of dialogs, great choice in 60s music (a time of director’s childhood.) and multiple memorable impressive moments as Christopher Walken’s cameo and his watch story or camera shot of Mr. Blonde’s walking to a car. Tarantino in excellent telling present stories, where chronologies of scenes were changed in places.
Adaptation of Elmore Leonard’s novel Rum Punch, which was released as Jackie Brown, was a director’s right next step. Repeat of same technique is stuck for artist, which shows his infirmity to create a new. Jackie Brown as usual in any author’s composition has spectacular characters, juicy dialogs and sudden twists. I didn’t read this Leonard’s book, but it follows his style, which I know from other works and it can see in multiple screen adaptations. Jackie Brown is only Tarantino’s film without his characteristics. Sixties was a great decade for Sergio Leone – nineties was a decade for Tarantino.

The director in next films not only repeats staff, which made sounding his name, but degradation comes to plagiarism. If ear cutting by Mr. Blonde was esteem to Django, in Django Unchained was idea stealing. A screenplay reading was a decision to don’t watch this film, because director was making a blockbuster. Later I read one article, which compares a script with released film and difference was in enhancing of action scenes. Tarantino’s typical dialogs looked unnatural for the Wild West. People never speak in these forms of speech at least as I remember. In the screenplay I saw familiar story elements of Django 2 – Il Grande Ritorno (Django 2 – The Great Return.). Tarantino was working in video shop and with his co-working friend were spending nights in film watching. He saw flicks, which not so much people know. I’m thinking, that he couldn’t not to see Django 2. The first film is a world known classic in contrast to same great sequel. Tarantino with a title takes slavery to where Django gets; his goal to save a daughter, when it’s a wife in Tarantino’s film; a main villain’s personal black slayer with privileges, who is a woman in Django 2, when in Tarantino’s version is Samuel L. Jackson, who always survives until conclusion at least. Since when director started to do films in past times - it disclosed that he wasn’t learning history. It will a long writing on inaccuracies and I’ll give one in the end, which can show that Tarantino doesn’t care to be precisely on past and his view is surrealistic.
Historical mistakes and plagiarism find in another Wild West film of Quentin Tarantino. I wouldn’t watch Hateful Eight if not one my friend, who wanted that I see it. The director didn’t hide about Il grande silenzio (The Great Silence) filmed in 1968 about it I was thinking in watching his another long film, which strongly needed in cuts. I can praise acting of most actors, but not a screenplay, which with predictabilities as in scene, when Major Warren provokes a Confederate general on gun taking by own imagined story, where obviously know, what usually happens - oldman will die, because it always happens, and especially if him kills Negro in Tarantino’s film and this probability rises in Samuel L. Jackson’s performance of his historically impossible character, who despite on time period still acts his “street nigga”. And the last proof of obviousness that provocation is a tactic of one character in The Great Silence. How I was wanting that Tarantino surprised everybody and personally me that Bruce Dern will first. Walter Goggins’s personage didn’t have evidences that he’s a sheriff and it was found in some of his actions as when he was marauding in general’s coat and didn’t start conversation with Jackson after murder. Maybe, rewritting of screenplay, which was after a leak, Tarantino transformed him in a real sheriff. The director wanted to implement a classical western, but he couldn’t. Ennio Morricone is a man, who composed music for these westerns, is the one, who gave that spirit. Tarantino’s following degradation achieved in bullets of revolvers, which are exploding heads, what makes director a bad trashmaker.
That’s milestone was taken before in duology Kill Bill in blood fountains and a scene with open cortex. If evaluate Tarantino as action director – he isn’t great in staging of these kind of scenes. Sword battle with yakuza did sluggish and in the moment of long ball rolling I was thinking “when will it over?” Kill Bill mentions Shadow Assassin, which is American combination of first and second part of Lone Wolf and Cub, which are excellent examples of sword fighting. I’m not a fan of blood fountains, but there they were demonstrated in brilliance. Unstoppable action with pauses of Japanese mentality for less of hour and a half. Each part of Kill Bill makes heavy watching of very long lengths with a boring story and needles prolong scenes as was in a coffin. I can’t memorize another director, where I with avid satisfaction watch long scenes as Sergio Leone in sixties. Duology Kill Bill swings from serious grey tones to absurd, which makes film strange, when after unusual talks see jumping on a sword a whitebeard man with big eyebrows. Tarantino must kept whole film in this style if he wanted to mention these Chinese flicks.
Maybe Cannes festivals and snobbish acclaim influenced on director, but his films haven’t smoothness since zeroes. No madness, which can see in cameo role in The Muppets’ Wizard of Oz. A collaboration project Grindhouse with Robert Rodriguez is succeeded esteem without plagiarism and with demonstration of individuality. Of course, Rodriguez’s Planet Terror prefers Tarantino’s Death Proof in excellent dialogs, extreme twists and excellent director’s creativity, which about that’s madness and where from elements of Grindhouse films director made a masterpiece and he was good again in Machete and perfect in Machete Kills. I like this director, who entered in one time with Tarantino, but he never stuck as artist. His first movie Mariachi is amateur and professional work and it makes attractable. I like his amateur decisions as repeat of three times of action or did professional in playing and singing on guitar in the bath scene. Tarantino in Death Proof has needless long conversations in first part of the movie, which director could better present, but that’s a well made film.
Lose interest to His films with a basement if watch original. Quel maledetto treno blindato translated from Italian as That’s damned armored train is a film of 1978, which was released as The Inglorious Bastards in the USA. After watching of it I totally disliked Tarantino’s Inglourious Basterds, where with all mentioned negative, it’s a very cheesy film. In a bar scene (which is well in whole.) I don’t like Nazi who easy guesses King Kong and Christoph Waltz, who is an excellent actor, whom discovered Tarantino, but I with hard looked on performance of his character as, for example, in overdramatized introduction scene, where he pointed a gun on running away Jewish girl. That’s damned armored train, Dirty Dozen, Guns of Navarone and Where Eagles Dare are films mentioned by Tarantino, have interesting characters, screenplays and everything else to be are great, when Inglourious Basterds without curious personages and the film was made pompous.

1969 was the answer on why I willn’t watch Once Upon a Time in Hollywood. A title looked one more director’s fantasy infirmity. Leonardo Di Caprio was damn spectacular in a trailer. He was teasing in villain performance in Django Unchained, but I hope to see him in Machete Kills Again… in Space as Rodriguez had it on mind.
Portraying of Bruce Lee Tarantino was using of a name of actual person whom acted a terrible actor. I know a lot of stories about Bruce Lee, which demonstrate that he wasn’t arrogant man who was liking to fight. He was evading it. On filming of “Enter the Dragon” one stuntman so much wanted to do one on one with him, but Bruce Lee was refusing many times until it tired. Witnesses were saying that stuntman haven’t a chance for reflection of attacks. What I saw in trailer isn’t kung fu for a start and enough for an end. Bruce Lee’s daughter Shannon Lee was precisely in definition on director in liking of kung fu films. Tarantino’s Bruce Lee speaks with deep Chinese accent, which should call Caricature Chinese. Bruce Lee was born in San Francisco, which with his parents left after three months age and moved to Hong Kong, which was under control of the Great Britain then. He had a perfect pronunciation in English and Chinese. That’s detail is impossible to miss if never listen his interviews. Everybody, who knew Bruce Lee, criticized Tarantino’s image, which was offensive for them.
I can’t reason on could or not Tarantino implemented genre films (I highly doubt that he left behind himself.), but I’ve learnt a film’s story and see that the director uses same own elements. A riddle of suitcase in Pulp Fiction in Once Upon a Time in Hollywood without answer here is “did Brad Pitt kill own wife or not?” and alternative history conclusion as in Inglourious Basterds, what in whole is a new degradation step for the director – own plagiarism.

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