The belated film review of the "Film Handbook" commented on "vulgarity" under the title "Subverting Tradition". As we all know, the "Film Handbook" is a maverick in the industry, and the films they recommend have a strong personal imprint, and maybe the entire public opinion circles are criticizing the films, but they think they are good, that is good; And vice versa, even if everyone is complimenting good, as long as they feel average, then they are absolutely dismissive.

Therefore, the film review of the "Film Handbook" is always a beautiful landscape in the film industry, whether you agree with it or not, at least it is eye-catching. This time, the "Cinema Handbook" is full of praise for the "vulgarity" that subverts the entire film tradition.

"Chapter 1, Structure."

"Vulgar, the structure of this film is actually not complicated, just like the title of the movie, it seems to be composed of different chapters, the whole film is divided into four parts, and the opening paragraph is a preface. The structure of the whole film echoes from beginning to end, and at the same time shuffles the order in the middle, this circular structure of the sword form breaks through the linear concept of time and space of traditional films, but ignores the collage of time and space order according to the director's conception.

This circular structure of the sword is very suitable for the theme of the film, because the cycle of violence does not stop, and this chaotic and disorderly structure also shows that there is no chaos and disorder in the violent world without rules of survival.

Of course, such a structure is easy to bring confusion and misunderstanding in viewing, because the movie uses Vincent played by the powerful actor Hugo Lancaster throughout and plays a tandem role.

Chapter 2, Space.

In order to express the unique spatial composition of the underworld world, this film focuses on placing the scope of the characters' activities in closed carriages, suffocating elevator rooms, narrow corridors, toilets, etc., to create a closed, rigid and linear world.

In particular, the table xiàn of this specific space in the bathroom is a highlight.

When Vincent and Jules go to recover the suitcase, the accomplices hiding in the bathroom rush out and shoot indiscriminately; Vincent in order to break the ambiguity between him and Mia. When the atmosphere was ambiguous, he chose to hide in the bathroom and self-hypnosis; Vincent also liked to read publications in the bathroom, once during a robbery in a small restaurant, where he was happily reading, and once when the Butch family was waiting for the rabbit, he was leisurely reading the same publications in the bathroom, and he died.

The bathroom was originally an extremely private space, but it is precisely because of its privacy that it is a place to hide dirt and dirt, and at the same time to suck in. The abyss of poison and violence. Chapter 3, Rhythm. Quentin Tarantino's ability to control the rhythm of cinema is breathtaking, and this rhythmic style of first suppressing and then rising more profoundly reveals the thoughts that many violent triggers are hidden in life, and calm dialogue, trivial things are often followed by an unexpected storm and hysteria.

After a bland conversation, Little Pumpkin and Little Rabbit suddenly pull out their guns and rob openly; Vincent and Jules, after not looking for marginal small talk, suddenly break into someone else's room and begin a bloody purge; When Vincent takes Marvin back to deliver the mission, he accidentally goes viral, breaking the easy conversation between him and Jules at once; Before Vincent tries to rescue Mia, he is poisoned. The traffickers are engaged in trivial discussions about how exactly to get the needle......

This kind of rhythmic treatment is different from Steven Spielberg's "three minutes to make the audience laugh" and five minutes to make the audience cry, but to approach the theme of the film with calm control, revealing life itself. Chapter 4, Photography. In order to express the mystery and power of the underworld boss Marsha, his appearance is carefully arranged from the composition, and his appearance makes people feel dangerous. In the first scene of his negotiation with Butch, we actually hear Butch's majestic voiceover in a long close-up, and then one of his hands into the painting. The next shot is a close-up of a huge head of Masha filling the foreground, while Butch in the background is compressed into a small space, and the contrast of power between the two people is clear at a glance, and the visual impact of this difference in the area is great.

At the same time, in order to show the space for the activities of the underworld characters, the film uses a lot of long shots, because the long shots and lengthy dialogues are used together, which can easily create a suffocating and stiff atmosphere, and when the characters appear hysterical, the use of long shots and sharp photography together produces a unique audio-visual impact. Chapter 5, Sound. The sound processing of the film is also complex and clever. For example, Butch's participation in boxing is very simple but effective, and it is handled entirely by sound. Butch wakes up from his dream in a break and walks into the ring. Immediately afterward, we can hear the cheers of the audience almost bursting our eardrums, and then we feel the action from a female taxi driver listening to the live broadcast of the boxing match, which is completely described in sound, concise but realistic.

In addition, Butch returns to the apartment to retrieve the gold watch, and when he walks into the apartment compound through the back door, the sound processing is very life-like; And when Butch walks into the room to kill Vincent, the clever editing of Tong Guò and the whine of the toaster combine to create a thrilling and tense atmosphere.

The most brilliant scene is the part where Butch begins to choose weapons in order to save Marsha, from the soundtrack to the cutting of the sound, as well as the use of shots and the composition of the picture, there is humor in the tension, and there is relaxation in the excitement, which pushes the movie to **. Chapter 6, Characters. The characters in the film all have a self-contradictory scene, Vincent's decisiveness and cold-bloodedness in executing the traitor contrast with his jerky, humorous, and casual face to Mia; Jules's cruelty and ruthlessness in reciting the Bible before killing is contrasted with the fact that he chose not to wash his hands after escaping death; Butch's ferocity and gore in the ring contrast to his pampering and maintenance in the face of his girlfriend......

Such contradictions can be seen in almost every character, which also makes the self-redemption color of the film quietly integrated into the story, giving a more realistic life meaning to the violent story about the underworld.

Summary.

"Vulgar, with the structure of a single sword and a new audio-visual language, it subverts the mode of traditional films, and has achieved excellent results in breaking through the routine exploration of previous film noirs, especially in rhythm processing, photography style, and sound setting."

Although they did not choose to analyze the connotation of the film, nor did they discuss the characters, themes, ideas, etc., but only interpreted it from a technical level, they could still feel their admiration for the film.

This is very rare for the "Film Handbook", and supplemented by a high score of 3.4, it is not surprising that this authoritative magazine uses comments like "subverting tradition" as a footnote to "vulgar".

Also doing an overall analysis of the film is the British magazine "Empire", which has a close relationship with Hugo, and has given very high praise to Hugo's films before, and this time is no exception. However, this time "Empire" magazine did not specifically praise Hugo, but praised Quentin like other media.

"This is clearly Quentin's most important work."

From the perspective of the structure of the play, Quentin abandons the traditional Hollywood method, and uses the method of distancing the perspective to process the narrative of the whole film into a circular structure that echoes from beginning to end. Under this novel overall structure, each story in 'vulgarity' is told in an orderly manner, and the greatest success of this novel narrative method is that it subverts the traditional linear narrative structure, but does not lose the audience because it is too bold and too realistic.

Violence is an unshakable theme in Quentin's work, and the frequent scenes of violence in the film have always emphasized that such time is a vicious circle that never stops, and that violence is everywhere in life, and in front of it, there is no justice in life and death, right and wrong. And under the cover of violence, Quentin also explores a more profound problem: the change of fate by chance.

In fact, although 'vulgar' has four parts, it is generally a story, Mia's sucking. The drug overdose, the chance encounter between Butch and Marsha, the miracles experienced by Jules, the robbery in the restaurant, etc., are all fortuitous events, but it is these fortuitous times that change the fate of the characters.

"Vulgar, continuing Quentin's ability to control language during the 'Reservoir Dogs' period, the dialogue of the story has a unique style, not only in line with the identity and personality of the characters, but also hidden in the underlying culture and simple and simple philosophy, among which the rich black humor has become Quentin's iconic label.

At the same time, the outstanding performances of the actors in the movie are also worthy of admiration, Hugo Lancaster played Vincent can be called a classic character, although his characteristics are not as obvious as Jules, and the conflict is not as clear as Mia, but Hugo gives Vincent a humorous but casual, cold but funny, casual but cautious mixed charm, and perfectly blends with the temperament of the bottom gangster, and finally interprets Vincent with a different style. Hugo's superb performance was a highlight.

"Vulgarity, another feature is its retro of the culture of the 60s and 70s and its description of the culture of the underclass. Similar to the style of gangster movies, crazy country, blues and rock, Jules's fluffy and explosive curls and Mia's tight shirt and bell bottoms all exude a retro flavor; And about fast food, makeup, drugs. The content of the conversation, the ubiquitous slang and swear words in the film, are also the real aspects of the American culture.

In addition, in terms of the film's rhythm control, cinematography style, sound editing, etc., 'vulgar' also has a unique style and color, and it is definitely the most personal film so far in the 90s. ”

The film reviews of "Empire" magazine are more general, and every detail is pointed, although it is not detailed, but their admiration for this film is also undoubted, according to the official rating criteria of the Cannes Film Festival, "Empire" magazine gave an absolute high score of 3.5 points!

After the brewing of professional film magazines such as "Movie Manual" and "Empire", the frenzy of praise for "vulgarity" finally invaded. (To be continued.) If you like this work, you are welcome to come to Kazakhstan to read and vote for the work to vote for the monthly ticket. Your support is the biggest motivation for me to continue creating! ）