Zoot has the humility and self-honesty to get offended.
Zoot is about a notch away from swinging on a hammock in front of a rancho listening to cumbia.
But it’s very hard to kill the Nazi within.
A greater spoils than the fake promises of nazidom has to be seen.
That’s the paradox of the cure. It is not, unfortunately, enough to show the wickedness of nazidom. And only once those greater spoils are seen is one ready to forego all spoils beside the hammock, the rancho, the cumbia.
God is, must be, a bird.
[youtube]https://www.youtube.com/watch?v=HpUSD6Wnhdw[/youtube]
R will still raise an eyebrow over a fool.
Plus he has no nazi within.
What I hate about Tarantino nazi films is that he glorifies the great intellect of Europe through the nazi. Stupid. He has no idea of real pompous German shit. He tries to go Tirol in Hateful 8 with the Australian girl, that gets very out of place. He is most certainly gay. It is in his voice over, the way he pronounces “black cock”. I am positive. Why Reservoir Dogs are so well dressed in the first place. Fuck, big dick is the topic of his first scene of his first film. Plus, I just realize, the first scene in his first script is “Id fuck Elvis”…
God is a bird. Venetians and their masks and gondolas. The outset of everything and their little cousin, Macchiavelli.
Tarantino can be credited with totally wiping away the feeling of racism, of there being noticeable differences between black and white American Lords.
He portrays Lords. There are slaves, black and white, and Lords, black and white.
The Royale with Cheese dialogue is as aristocratic as American cinema had attained. Since then everything is aspiring for this aristocracy, with Ironman as the most successful outing.
Waiting is on Robert Downey Jr. playing a Tarantino lead.
What? Nigga you ain’t seen through.
Do you mean because of the Nazi constable and his cleverness? No, you ain’t seen through.
Anyway, the only glorified intellects in Inglorious Basterds are French and Texan.
Or maybe you mean the cellar stand off scene?
So what, there WASN’T a Europe-wide snobism of which Nazi officers were part? Gettoutta here. Were a part to an extent. That scene show that too.
You make a point about that I’d fuck Elvis and Black Cock thing. And his relationship to Uma.
But it would also have determined his relationship to Leo’s character in Django, and that was pure fucking art.
The Australian Girl is there to prove a point about the Earth-core nature that shamans see. That’s all.
The truth is, and this has been the case since Resevoir Dogs, least in Pulp fiction, because it is where he makes it tangible to the point of leaving you no real option, that Tarantino requires the benefit of the doubt to work. And with that in his pocket, he doesn’t fail.
Paul Thomas Anderson is the opposite. The benefit of the doubt actually hurts his movies. He attacks you and wins.
No its just an accentuated Spielbergianism. Only Polanski shows it for what it is. Sickeningly primal. Pure dark death fate as the homeric heroes dreaded.
And yet it hasn’t been really shown from inside.
Its poetry was far superior to that stupid clown of an aristocrat T chose, and chose again as dentist - it was poetry written by young men going into their death like a candle into an endless forest.
“R will still raise an eyebrow over a fool.”
Only when there is clear and established prescedent. I have yet to see him raise an eybrow from original inspiration.
Young man nazi death poetry?
I’m sure I haven’t read it.
There is no greater artist in film than he is, everything is still in imitation of him. All films are now “dialogue films” filled with witty interruptions and sudden violences and a lot of inside references. But this doesn’t make all he touches true. On the contrary, his irreverence is suited only to the task of showing the world that is at hand. If I could tell him shit Id tell him to only make movies in the present and in LA.
Well, actually, finance. When he talks finance, he has original arches.
Nah man. IB and Django were both made, as well as H8, to prove to people that think that that his shit is way deeper than that.
That his relationship with the muses is far tighter than just that.
Kill Bill proved it to himself. Then he went out to prove it to the world.
You cannot begin to understand how closely Django touches the dirt of those times.
And in these movies there is always an admission that he, nor anyone, cannot actually touch that dirt directly, as if from that very time. He touches it from the present. So in a way, he did listen too you.
H8 was made to remain as abstract as absolutely possible, as its aim was the foundation of America, and he owed it that respect.