Quentin Tarantino's eight film is a cold, raw, fierce and sadistic stimulation for the senses with a little bit of dramatic fat and cumbersome political messages that will ultimately not thwart the ultimate dark-lover experience. "The Hateful Eight"" pours into the brain an extremely satisfying genre cocktail - spaghetti-western extravaganza in Leone, criminogenic whodunnit construction but Agatha Christie, hermetic horror paranoia of the Carpentry opus magnum "The Thing" and a bit of historical revision but much more moderate tone than that in the previous two works of the postmodernist whore - "Inglourious Basterds" and "Django Unchained .
Tarantino places the audience with some of the most corrupt characters he has ever created - a splendidly repulsive collection of racists, sadists, bandits and abusers. Images are extreme even for an amorous fetishist like him. The most dangerous word in the English language - nigger - is plagued in the dialogue with frequencies close to the farce. Tarantino has always loved to put a nigger in the mouths of his characters, but in the "The Hateful Eight"" nigger is a lexical central cell from which a massive verbal construction begins. Compared to the nuisance here, the neglect even in Jango without chains is like a cut out of a hurried, liberal, political show of someone like John Stewart. On the one hand, Quentin Tarantino seems to try to remove the toxicity from the word nigger, to release language as a slave after the Civil War and to give him autonomy. On the other hand, man seems to be addicted to the shock of the value of such techniques, and his humiliating exposure to anti-political protests and his association with the morally bankrupt, racist, publicly discredited quest blacklivesmatter, alas, pours water into the mill of the second hypothesis. The film is a complete failure as the political allegory of today's US situation and a wonderful artistic exaggeration of racial tension shortly after the Civil War. Sam Jackson's image in " The Hateful Eight" is a personification of the Tarantino concept of a dominant and uncompromising black man - an effective killer, a poet-warrior stuck in a claustrophobic and hostile racist space of skin color. The film is much better when it is emancipated from its own claim of historical and political weight and enters the comfortable genre space. In it, all the splendor of the taste of good taste and despised political correctness graced the landscape as a bundle of soft light - the trademark of Robert Richardson, the cinematic wizard. And juggling with the lexer nigger and violence against innocents in retrospect, and cannibalism of the predators in the basic narrative - all is wonderful. In fact, if there is something really deep and serious about the "
The Hateful Eight"," it is not in the butaphorous and insubstantial unfolding of the "racist America" debate, but in the cold misanthropy. There is something about Lars von Trier in the brutal way that Tarantino treats the human nature and the capacity of homo sapiens for cruelty. It is no coincidence that Quentin's favorite films are the masterpiece of the Danish provocateur Dogville. "The Hateful Eight"" combines epic snowy landscapes and sophisticated big plans, and the 70mm format is inspired and inventive. The action takes place mainly in the interior of a traveling concert and an isolated mountain shed, named "The Gallantry of Mines". In the "Gallantry of the Mini" the infected with the virus of sweet hatred are clustered. Kurt Russell and his eclectic mustache play John Palacha Ruth, a head hunter, headed for $ 10,000 in the form of the criminally corrupt Daisy Dogeggy (Jennifer Jason Lee's extraordinary role). Ruth and Domergee enter the "Gallantry of the Mines" alongside their two companions, the black colonel Marks Warren (Sam Jackson) and his hard-on-the-fight antagonist for the shattered Confederacy Chris Manicks - an amazing performance by Walton Goggins. In the wood chalet, he meets a bunch of suspicious characters, Mexican Bob Damien Bischir, Joe Gage (Michael Madsen), aging sniper from Confederate General Smithers (Bruce Durne) and Sweet-Duddy Oswaldo Morbey (Tim Roth). The company is a natural biological environment for thriving at least a dozen kinds of conflicts and aggressions. Tarantino uses its well-known technique of producing suspense with rich dialogues and monologues culminating in volcanic violence. But there is something very different this time.
"The Hateful Eight"" is felt in another, special way. Something really ferocious and chilling supplies the bloodstream of nutrition history. The festering heart of darkness pumped black blood into the snow-white infinite. The sadistic symphony creates a wonderful Christmas mood, and the impossibility of emotional identification with tough and treacherous images reveals unexpected possibilities for the evaluation of the whole three-hour exercise in style. The theatricality and intimacy of the interior story are wonderful partners of the epic scenery in the exterior scenes. "The Hateful Eight" is a very beautiful and rich film with details, references and allusions that justify the healthy idea of multiple views. Tarantino's most brutal, ferocious, cold and hopeless opus is strangely inspiring and exciting. Safely saves the sadistic receptors in the consciousness and once again validates the filmmaking of its author. At the end of the day, when everything is said and done, the dead bodies are already stiffening and the blood is drying up - in front of us (and for us) it is another hanging and intriguing good cinema.
