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It is me, baby, or the promised emotional catharsis

por Nate Nisbet (2021-05-04)

While in Russia, movie lovers have prepared a nice gift for the New Year holidays in the proper execution of the ability to contemplate, at last, the legendary'Pulp Fiction'on the big screen of the cinema; in the states, viewers can already appreciate the newest work of Quentin Tarantino. But inspite of the three-week delay in release, the distributor must certanly be grateful for the decision to produce the film in the original language in parallel with the dubbed version. I do not understand how many such copies will undoubtedly be, but when there is this kind of opportunity, I'd certainly recommend never to neglect it; since the perception of the exceptional image of Christoph Waltz here is basically influenced by his characteristic accent, and many jokes are designed on this, the meaning that would oftimes be lost in translation.

The action takes place in the southern United States 2 yrs prior to the outbreak of the civil war, throughout a brutal slave system. Former German-born dentist King Schultz has now abandoned medicine quite a while ago and found a more lucrative pursuit in the shape of tracking and shooting criminals, whose heads are assigned a reward. On the following such order, fate brings him to the slave Django, since only he can identify the criminals; Schultz'buys'him from the last owners and concludes an agreement according to which Django will require him out to them as a swap for his own freedom. Schultz, who, unlike most local Americans, is absolutely loyal to blacks, and Django get to learn one another better during his journey, and the slave discusses how his former master separated him from his wife, and his only goal when he becomes free find her. Once the partners arrive, Django points out the criminals, everything goes in accordance with plan, and Schultz is able to keep his word. But, after weighing the arguments, the heroes are in no hurry to go each their own way, but decide to keep mutually beneficial cooperation, especially since Schultz is already brewing a plan for how they can find and free Django's wife. Her name is Brünnhilde, and when Django says that she also knows German, this indicates to Schultz very funny. Looking at this character, it becomes clear that his actions are motivated, first of all, by material benefits; but at once he has a well-defined moral code to which he follows, and a developed sense of justice. Interestingly, the normal Tarantino theme of revenge, though it pops up here from time to time, is nevertheless not the fundamental motive that determines the behavior of the characters. Django fights for his love; he's not really a rebel against slavery and oppression - he just wants his wife and his little happiness back. It is this love line that becomes the main one, and in its emotional power has the capacity to contend with the most effective samples of women's tear-squeezing cinema. Only in contrast to this, the harsh reality of this historical moment in which this love story originates is extremely clearly shown here. The heroes are forced to ask questions not at the'likes - dislikes'level, but at the'will survive - won't survive'level. The cruelty of slave-owning America is striking, and the creators aren't afraid to show it in probably the most vile details, but at the same time there are no hints of exploitation, because each one of these horrors really took devote history, and it had been necessary to show the attitude towards slaves as honestly that you can - this is the main plot element. And inspite of the abundance of humor in the film - just here everything is frighteningly serious and real; Therefore, as an individual who has watched the film, I do not understand the career of those that believe that it is not appropriate to use the theme of slavery in a spaghetti western. The filmmakers genuinely believe that Americans should bear in mind not just of the country's great accomplishments, but in addition of the fantastic blunders. However, there may be no question of them allowing themselves to scoff at the numerous victims of that point - Tarantino jokes a lot in the film, but here he is absolutely serious.

In my opinion, the director here not just didn't remove the quality bar, but even, on the contrary, to some degree, moved to some other level. I won't declare that this is his best film - but the main topics slavery is, nevertheless, not merely some kind of criminal showdown; and Tarantino doesn't ensure it is only a area of the plot decor - it is a very solid ideological center of the picture, helping to make the story look a lot more'heavy '. Well, in terms of implementation - here is the same classic Tarantino, with all the current favorite techniques; cheerful and putlocker;, stylish soundtrack, a sea of ​​sharp humor, very bright characters and great dialogues. Well, visual violence in all its glory, where it ought to be (I'm now referring to spectacular shootouts with fountains of blood, and not about bullying slaves). And another person complains that the film is too bloody. I believe that blaming Tarantino for having too much blood on the screen is much like complaining concerning the insufficiently bright colors of the'Artist '.