Yes! For many years, first in Hollywood westerns fan only limited references and allusions to the best representatives of the genre, sometimes borrowing from them some techniques and compositions, like loosening the soil and sowing. In each of his movie keen and knowledgeable eye showed dozens of easter eggs and homages that can lead to a half-turn in the wild delight fans of more than one category. But now the hands of this talented director has finally reached the setting-length film on his favorite topic for the shooters of the Wild West. Never mind that the action takes place in the South, and arrows - "nigger on the nag." When talent does what he likes in his favorite area - all powerless, and nothing else matters except the result, which justifies all means.
Of course, too early to talk about a masterpiece if unsuccessful, or just excellent banter on the topic - time will put everything in its place, and to "Pulp Fiction" movie falls short. But it is rather because the presence of almost all the characteristic features of Tarantino movie - except that the shooting of the boot is not enough, at the dastardly southerners car still was not - "Django released" looks like something else. Passion for the orderly promise all possible taboos known address was replaced love - to the characters, to the era, to the style, to the process. Quentin is now not just with gusto and carefully remembers all seen them on the screen for forty-nine years of life - for him it turned into a whole science, art, the art of which he is not afraid to develop.
"Django" is not shocking, not to fight on the felling or turns the brain - it just does massage convolutions, sometime rude, somewhere soft, but equally enjoyable and rewarding. And contradictory - timing under three o'clock flies three and a half aspiration, leaving no choice but to turn on the output to the checkout and buy another ticket and another, and another couple - and why not? Uneven narrative, according to the laws of logic and, probably, neurophysiology, should annoy or bother - nothing like this happens. Rate of falls and rises beyond all laws, dialogues, idleness and alternate shooting in a completely unknown manner and proportions - but what alerting German epic in gatherings around the campfire that night raid Ku Klux klanovtsev perceived equally exciting.
Finally, a whole galaxy of powerful actors who are under the supervision of the director did not manage to pick out and outplay each other, and create a harmonious mechanism every scene, working like a Swiss watch. Fox transforms from a slave to the "Freeman" against cunning Waltz, Waltz palaver against evil DiCaprio DiCaprio for real cuts her hand on the glass against Jackson collaborator, until finally, Jackson yells good mate for free Fox - the whole chain, the closing in a circle, it seems, is polished to a shine and the light shines in the night. And it links strictly adjusted to each other, so that a kind of relay race - who are now in the spotlight.
There are other races, no less entertaining: for example, the word "fuck", which count in the films Tarantino used to be a kind of discipline, under the influence of the situation turned into a "nigger", which are not consumed unless the sky with the sun beats down mercilessly although the latter bent plantations black back. Or relay almost historical - Jamie Foxx, shooting from the hip at a rate of 0.9 per second, Clint Eastwood, without changing neither hit nor the manner of his senior white colleague. Not to mention a cameo Franco Nero - Django by Sergio Corbucci, almost ironically questioning Fox's character to utter the name letter by letter.
- "D" is not uttered.
- I know.
As usual with humor, Tarantino also fine - especially with the black (sorry trite pun). When drunk precision costs comrades-riddled knees and back - nothing to lie in the middle of the battlefield. Or when the unflappable Dr. King Schultz, a dentist, conducts business negotiations and pinned under a horse ferry pilots, or a horde of angry citizens. The characters and the extras are often dying with fantasy and fun about the comments that all this is accompanied by and talk too - there is Tarantino! And no matter how unflattering it looks on paper, as it looks hilarious on the screen. And finish off the impression such touching little things like tooth on the roof of the wagon doctor - against the background of general postrelushek killer looks ridiculous. By the way, If we are talking about this stupid tooth - Tarantino is probably the first person in the movie who seriously thought about defects dresses valiant members of the Ku Klux Klan. How do these things relate to each other better see for yourself.
However, he is able to teach in a movie death is not only funny and beautiful, but also sad and scary, and sometimes manage these concepts overlap. From some of the scenes just did not feel, from some almost holodeesh a tingling sound of marching on the back. And much thanks to contrast with the main part of the film, in which all the joking and playfully doing a more in each other holes such scenes are even more emotionally, so that the effect of these print in addition to the back of the chair, paralyzing the limb.
In fact, about the main advantages of the maestro - shooting, chatter and music - and say something does not make sense. The rare case when the silence - instead of a thousand words. But just can not resist! As few strokes - a couple of phrases plus act - it exhaustively describes a particular actor can not help but be admired. And as for a long time to open up the screen time and even develop major and minor characters to write useless - you can only see it. Talks between the two sometimes grab cleaner hassles - as well, almost unbelievable, but at the same time realistic they sound! Mixed in are courteous and obscene speech, wit in every other sentence, grin in each of the first - the music of words personally, something like poetry, prose, and only on the roles. It's amazing.
However, even more surprising is worthy one noble animal obstinacy of our translators, who for more than twenty years and has not figured out how to translate Tarantino. As if being bullied by deliberately adjusting it for age size smaller - despite the cemetery through his head that look almost every scene. Already even individual voices normally pick - albeit incidentally killing all the accent and dialect of certain characters, but that's naughty to translate it as if afraid. Uncivilized, sir, lack of spirituality, apparently, it weighs on the conscience.
But back to the music of words, it does not remember the music notes? Found all over the place - from classical and country music until this rap that is, to put it mildly, somewhat dumbfounded. The compositions do not reflect the times during which they heard, no - that would be too easy. They complement them, enrich their sound, sometimes their texts, allowing to look at this or that event is much broader. And they are embedded in such successful places that you wonder, where did feel like Tarantino and why he is still in the music producers are not moved? Let's hope for the sake of us.
Again, the actors: with all due respect to Christoph Waltz - chertyage elegant, most original bounty hunter for the last fifty years - why he, not DiCaprio received Globe and was nominated for an Oscar for best supporting actress - a mystery. But now with 99 percent confidence we can say that the Academy is clearly some kind of bone to pick with this actor, or so open and blatant disregard almost no way to explain.
It is very unlike yourself - diabolical Francophile that moral principles are seen far away in the depths, charismatic in his role to stupor. Cruel, narcissistic, is not always a visionary, but always ready to listen to their chief "servant", plus everything else and campy, prone to theatricality as Django - for the dramatic and flamboyant at all by itself. Besides, he knows phrenology - the scene with the skull offered himself DiCaprio, and she came out, I must say, spectacular. For a complete happiness rotten teeth included - Dr. Schultz frowned upon - and ready portrait of one of the most colorful of slaveholders in the movie, and among the villains in general, too.
And Samuel L. Jackson just hit the target - such a nasty old man! Who moved into the camp of the enemy, the black slave owner - is no worse - judging by the several phrases and even backstage ruler Candyland (cool name for a slave estates, is not it?). A meticulous and insightful, in fact, that the same person recently played Mace Windu and Nick Fury is absolutely impossible to believe - differently to them, people! Especially considering its luxurious head of hair around here, way of speaking and body movements - another excellent bidder would be at the Oscars.
What to Jamie Foxx, is its main merit is that he was able to completely believable and show the evolution of the hero of the downtrodden slave in the best shooter, obviously, throughout the South. After going through the suffering and deprivation, the various hardships and difficulties, having done a tremendous job over itself - not so much physically as mentally. In fact he is here - a reflection of thought, which, for themselves as if suddenly become Tarantino film. Roughly paraphrasing Bulgakov, "slavery is not in irons, and in their heads" - so that Jango had the entire movie on a drop crack a slave to the accompaniment of soulful and caustic monologue DiCaprio about the causes of slavery. Although, of course, it is strange that such a monologue missed in wide release in the U.S. - some Spike Lee and Jesse Jackson from his heart attack can easily inadvertently grab.
Yes! Admittedly, Tarantino tired of half measures, so he just picked up, and not only saddled his favorite horse, but in addition, he is a gelding, which has long been priglyadyvalya. Familiar passages sharp camera in depth, focusing on the details here are imposed on such things as the shooter, nigga, furious laying a dozen or so white. Yes, and he took part in all of this - could not accept, even if that role and was intended to Gordon-Levitt as John Hill went to the Ku Klux klanovets - in a stunning cameo he could easily compete with Stan Lee. The only thing you can blame "Django" so it is that the Western Tarantino did it purely in their own way - a cross between a parody, the traditional author's approach and postmodernism, which, until the pile, and even asks which side in you "three dimples on the skull?" Only a machine gun and not enough.
