TECHNICAL QUALITY: DVD
Rather a glorious mess of a film that combines Quentin Tarantino's cinephile obsession with quoting from the genres and films he likes, with a complete absence of any real wit or thematic content. Here, the form and the content are one - as in a tv commercial - and the so-called themes of betrayal and revenge merely catalysts for the stylish mayhem that ensues.
Although brilliantly-filmed, there is no underlying cinematic sense at work here. The set-pieces are superbly staged but do not progress the characterization, theme(s) nor the plot in any meaningful way: One could project each reel of film in any order and achieve the same undramatic affect. The plotting is arbitrary and contrived around the set-pieces, the characterization thin and the themes unexplored in favor of style, dash and good looks - especially the beautiful Julie DREYFUS.
The emptiness of Western culture is revealed here since the director clearly only feels at home taking elements from other cultures and appropriating them without understanding their cultural value. This superficial tourism in the culture of others makes the acting difficult to criticize since the performers behave like people one would often like to be but could not because that would render one ridiculous; eg, "You've seen too many movies, haven't you?"
The director's choice of music is the real giveaway here in that it is right for individual scenes but its very eclecticism makes most of his choices dramatically- and inconsistently-wrong. The music does not evoke emotions so much as the feelings one had when one first heard the music in question, in a different context; usually another, better movie. The score does little to enhance story, there isn't one - only the mood. This is the classic example of the empty vessel making the most noise which, although enjoyable while it lasts, is like a McDonald's hamburger (when compared to prime steak) - pleasant, but forgettable.
The director's only originality lies in the way he employs the various cliches he has stolen cliches from the movies he admires. Like Brian De Palma before him, the present filmmaker needs to get his own tropes that come from his own ideas - or simply act as producer/mentor to better filmmakers.
Technically outstanding; dramatically and philosophically-empty: This director’s movies are nothing more than extended trailers for better films. It is storytelling for people who do not like stories, or characters or themes. He is the greatest master of formalism working in the film world today (2003). The only person you can compare this director to is himself; thereby finding that all his films are just as good – or as bad – as each other.
No comments:
Post a Comment