The Hateful Eight

Started by Fernando, November 27, 2013, 09:49:27 AM

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Gotta see this again because in all honesty it took me a while to get into the film's tempo and vibe (the film takes it's own sweet time too) but then it EXPLODES and in retrospect it's an amazing movie. As an audience you are totally in the hands of a master.

I don't think it's an empty film at all, there's plenty of stuff to chew on politically, historically, it's a pretty angry and disenchanted view of America by tarantino. One instance comes up by comparing the violence in Django to this, and identify the differences. Django had "levels" or diverse ways to portray violence: the one inflicted by the white racists on blacks, the one inflicted by the hero on his enemies, and then one inflicted from black man to black man (as in the mud fights) where it was considerably more "realistic" and painful. Here it's all equally over the top and senseless; justice (a concept a character makes a monologue about) is not only never served, but it turns out it's barely a ghost, as any other edifying concept of human nature. It's weird because most latinamerican reviews I've read totally get all that stuff and deal with it while american reviews mostly concentrate on describing the film as a western and a "whodunnit"...

What a great film.


I liked a this paragraph from Roger Koza's review (one of latinamerica's most respected critics), which is I think a nice contrast to that weird Matt Zoller review, as many other americans, so absurdly concerned with PC and wether is "right" or if there are enough "reasons" for an artist to use the word "nigger" or show violence more than 20 years after Pulp Fiction. I had to translate it (and this was not a rave review by the way, but Koza's style is closer to Jonathan Rosenbaum in that often what's written is more an analysis than a value judgement):

"Because everyone here is evil, the only antagonist remains out of the frame, even though his voice will be heard spectrally during the ending. The Herald of Good and the promise of fraternity travels metaphorically in the chest of one of the bounty hunters, the only african american. His mercilessness is incompatible with the kindness expressed in a missive written by Abraham Lincoln. But the film's point of view gets confusingly resolved when the the letter's content is revealed, being read at just the right time and with an elevated travelling pulling back, imposing rejection and refuting (the director's supposed) cult towards violence. The political pessimism of a progressive caveman like Tarantino becomes clear for a moment and retraces - even if it bothers the moralist - his characters's misanthropy, which is not his.

American cinema always goes back to the story of their nation. Filming history is the first mission recognised by filmmakers, a tradition starting with D.W. Griffith which was always linked to the western genre. Here is a disenchanted counterpoint to films like Lincoln and Bridge of Spies, Spielberg's latest effort to seal faith in the Republic. Tarantino painfully disbelieves in justice without fire and in any other value besides the fetishism for the coin. The soft defence of family as an institution insinuated in The Hateful Eight is barely a resource too conservative to reencounter with Lincoln's road. Barbarity has triumphed, and his best interpreter, and perhaps representative knows how to film it in it's own terms."


Supercut of Film References in 'The Hateful Eight'

The only one I didn't see any visual connection at all with was 'The Last House On The Left'. Tarantino has always maintained that he's not a Craven fan.


honestly, with the exception of "the thing", most of those seem like a big stretch, particularly the self-referential ones.


Really baffled me how many of you liked it. Sorry to be so late to the party. I always defended Tarantino as a director who, like Von Trier, has the ability to make the audience hyper aware of the artifices of his films but still has the audience buy into the film. Well I guess he forgot to do that this time. This was a film I did not get the point of. the whole thing is actually kinda Dane Cookish in how he's convinced that he's telling jokes and obviously people are roaring but I not only failed to laugh - I struggle to find the point in these elaborate setups. I was annoyed but didn't hate it because I appreciate Tarantino. I would venture to guess that if you guys hasn't seen his work and started with this you'd hate this movie.
"Tragedy is a close-up; comedy, a long shot."
- Buster Keaton

Something Spanish

just assumed the extended cut was the roadshow, not a reedited miniseries version. going to give this a good old fashioned watching this weekend. haven't seen the film since the xmas on 70mm twice. actually, first want to watch my still sealed blu ray, then catch the netflix version.