Review of the film

The new film by Quentin Tarantino is another confident step towards the ideal action movie of all times and peoples and an important statement about the modern world. To fully appreciate the disgusting eight, you need to understand what Tarantino is doing throughout his movie career. And he does a very clear thing - trying to get closer to the idealized canon of thrash-action films of the 1970s or the so-called films of category B. In this sense, it is similar to medieval masters who created without inventing anything new, and practiced methodical constant reproduction of a certain canonical sample. So far they have failed to create a masterpiece - the perfect embodiment of the ideal. The term & quot; masterpiece & quot; translated from French as & quot; main work & quot ;. So the main work, which showed the status of the master for Tarantino, was already his first full-fledged film - Mad Dogs. Then, almost every new film director was recognized as a masterpiece, a significant statement in modern cinema. Already, we can see that Quentin Tarantino is trying to cover all the main genres of popular action films "category B" with his films. 70s of the last century. These are criminal drama (Reservoir Dogs, True Love, Pulp Fiction, Jackie Brown), martial arts cinema (Kill Bill 1, 2), operational cinema (Death Proof, Inglorious bastards, Django). David Vlas youtube revenue machine Making 6 figures a year GB The last three films, in turn, represent various divisions of their genre, or even their hybrid combination. Proof of death is a mixture of carsploitation (auto-exploitation) and the movie of hubbub and revenge; Inglorious bastards - a mixture of nazisploitation (nazploatatsiya) and war films, Django - a mixture of blacksploitation (negrospluatatsiya), spaghetti-westerns and militants such as "outlawed hero". In this case, Tarantino is really a brilliant director and he takes the tape to a new level. His tape is, of course, category A, the pinnacle of popular cinema. Performed by Tarantino's canon & quot; B films & quot; reveals almost all its dramatic and visual potential. These are perfect thrash action films, worthy of being watched by ideal viewers. Thanks to Tarantino, all the pleasure from movie screenings that we received once upon a time, when we were naive children with wide eyes, we can experience again, already adults, with a more mature and demanding look. As befits the old master, the director begins to find pleasure not so much in his own improvements of the genre as in the executive following basic patterns, in which the author's handwriting is placed in detail (one of them is the turning of the name of the classic film The Magnificent Seven). Of course, there are special Tarantine "jokes", but they are noticeably subordinate to the general structure, and politely reproduce the recognized canon. In this case, we are talking about the canon of spaghetti westerns. Film Coloring, frame building, character typology, plot - all this carefully follows the best examples of the genre. The soundtrack eloquently testifies to the most respectful reference to the original source. Quentin Tarantino for the first time decided to abandon his usual principle - to compile music from individual tracks from other movies or from the work of popular artists. Instead, he turned to the guru Enio Morricone, who wrote the original music for the film. Although, this soundtrack reminds more of the Jallo film music than westerns. On the other hand, Tarantino develops his own canon, known, perhaps, for each of his connoisseurs - the love of certain actors, the division of the film into chapters, long conversational scenes that serve as rhetorical springs for the action, absurd, unexpected and hyper-bloody murder scenes and so on. In the eight, genre and personal canons, which Tarantino faithfully follows here, converge into perfect integrity. Between them it is difficult to shove the blade of a knife, although they are clearly recognizable and read. Therefore, the director can not be counted another masterpiece. It is impossible not to note the next round of approximation to the ideal super-model of canonical cinema, which, like a perpetual motion machine, moves all his work. The difference between the canon and Tarantino is becoming less noticeable, less fundamental. Against the background of the stylistic completeness of the Eight, it is no less interesting to read into the informative level of the film. The main story of the tape represents eight harsh people gathered in one confined space. The viewer is offered to stock up on popcorn and watch the situation. And be sure, these heroes will show you a variety of intertwining of their bodies and emotions. Each character looks dull and has some sins. The name of the tape correctly indicates the extremely negative images of the characters, but the English name Hateful Eight also tells us about their mutual hatred. However, the main point of the film comes when everyone’s common hatred for everyone begins to gradually emerge. The skill of Tarantino the narrator is expressed in how slowly he crystallizes the various stages of the confrontation, while constantly deceiving the viewer. The action of the ugly Eight takes place in a country that still remembers very well the wounds inflicted by the Civil War. The military confrontation is over, but the mutual hatred of two different American worlds and worldviews has not disappeared, and continues to live in their heads, coming alive at the first opportunity. Tarantino offers us his vision of how there can be a way out in such a nasty situation, where to go, where you can find support for new dignity and normality.