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.
Im not saying he shouldnt have made those movies.
bleh, that old dead end street of a discussion.
Anyway, it inspires discussion. Ahem.
But it does.
He is a painter using few strokes, like Rembrandt.
I actually almost feel it’s the first time we’ve had it. In that for the first time since the first time, new points have been made. At least in my mind.
for example, I now see much more precicely what you mean with the nazis. And am willing to concede it. Inglorious Basterds was the story of an incursion of Americans into WW2. Nazis are just the the monsters they encountered and the French the maiden they saved.
The Bear Jew is also beautiful, and there is no… The whole magic of it is that you look at Eli Roth, and he’s not really that big. He doesn’t even act that beary. It’s just a sacrificial mask to beat the shit out of these nazis.
deleted that message but you saw it
well the bear Jew, I also hated that.
I can’t tell you how much the movie misses the point of it all
and truly thats just due to the fact that this dread doesn’t exist west of the Atlantic.
Germany man, youve got to really be dominated by it to know it.
Let me put it to you this way: who Tarantino sees himself as competing and on the same sphere with now, is Walt Disney.