Comentários do leitor

It is me, baby, or the promised emotional catharsis

por Herbert Frankfurter (2021-05-04)

While in Russia, movie lovers have prepared a nice gift for the New Year holidays in the shape of the chance to contemplate, finally, the legendary'Pulp Fiction'on the silver screen of the cinema; in the usa, viewers can already appreciate the most recent work of Quentin Tarantino. But inspite of the three-week delay in release, the distributor should be grateful for your decision to release the film in the first language in parallel with the dubbed version. I don't understand how many such copies will be, but when there is such an opportunity, I would certainly recommend never to neglect it; since the perception of the exceptional image of Christoph Waltz here is essentially influenced by his characteristic accent, and many jokes are designed with this, this is of which will probably be lost in translation.

The action takes devote the southern United States two years before the outbreak of the civil war, throughout a brutal slave system. Former German-born dentist King Schultz has now quit medicine a long time ago and found a more lucrative pursuit in the form of tracking and shooting criminals, whose heads are assigned a reward. On another 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 in accordance with which Django will require him out for them as a swap for their own freedom. Schultz, who, unlike most local Americans, is totally loyal to blacks, and Django get to learn each other better during his journey, and the slave talks about 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 based on plan, and Schultz is preparing to keep his word. But, after weighing the arguments, the heroes are in no hurry to go each their own way, but decide to continue mutually beneficial cooperation, especially since Schultz is brewing a plan for how they could find and free Django's wife. Her name is Brünnhilde, and when Django says that she also knows German, it seems to Schultz very funny. Looking as of this character, it becomes clear that his actions are motivated, to begin with, putlocker by material benefits; but at the same time he has a well-defined moral code to which he follows, and a developed sense of justice. Interestingly, the typical Tarantino theme of revenge, although 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's this love line that becomes the key one, and in its emotional power is able to compete with the most effective types of women's tear-squeezing cinema. Only in comparison to the, the harsh reality of this historical moment in which this love story originates is quite clearly shown here. The heroes are forced to ask questions not at the'likes - dislikes'level, but at the'will survive - will not survive'level. The cruelty of slave-owning America is striking, and the creators aren't afraid to show it in the absolute most vile details, but at once you can find no hints of exploitation, because each one of these horrors really took invest history, and it absolutely was necessary to exhibit the attitude towards slaves as honestly as you possibly can - this really is the most crucial plot element. And regardless 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 don't understand the career of those that believe it is not appropriate to use the theme of slavery in a spaghetti western. The filmmakers feel that Americans should take note not only of the country's great accomplishments, but additionally of the great blunders. However, there might be no question of these allowing themselves to scoff at the numerous victims of that point - Tarantino jokes a lot in the film, but here he's absolutely serious.

For me, the director here not merely did not remove the standard bar, but even, on the contrary, somewhat, moved to another level. I will not declare that this really is his best film - but the main topics slavery is, nevertheless, not only some sort of criminal showdown; and Tarantino doesn't allow it to be only a part of the plot decor - it is just a very solid ideological center of the picture, making the story look much more'heavy '. Well, in terms of implementation - here is the same classic Tarantino, with all the current favorite techniques; cheerful and stylish soundtrack, a sea of ​​sharp humor, very bright characters and great dialogues. Well, visual violence in most its glory, where it should be (I'm now speaing frankly about spectacular shootouts with fountains of blood, and not about bullying slaves). And another person complains that the film is too bloody. I genuinely believe that blaming Tarantino for having too much blood on the screen is similar to complaining about the insufficiently bright colors of the'Artist '.