Roger Ebert's admiration for "vulgarity" was something many people didn't expect, and he attended the premiere of the film, but waited until four days later to write a review, which was supposed to be a sign that he was not interested in the film, but the truth was shocking.

It turned out that in the past four days, Roger has gathered nearly 40 filmmaker friends, more than 30 reporters, and more than 200 ordinary audiences, constantly watching "vulgar" repeatedly, and conducting an in-depth analysis of this movie.

After repeated deliberations, Roger gave crazy praise for "vulgarity" and gave a high score of 3.7, directly labeling the film as a "classic".

But unfortunately, Roger's review was not published in the official venue of the Cannes Film Festival, because there were "too many spoilers", and after coordination, Roger finally published the last paragraph of the film review, and the full version of the film review did not reappear in the "Chicago Sun" after the "vulgar" was released in the North American market.

Even so, Roger's accurate comments and super high ratings undoubtedly point out his attitude towards "vulgarity". Not only that, but after professional magazines such as "Movie Manual" and "Empire", there are also a large number of professional film reviews that have praised "vulgarity".

The "Film Critics", who came to Cannes on behalf of the United States, also expressed their opinions for the first time, and although the score of 3.1 does not seem high, it is also the highest score of the "Film Critics" at this year's Cannes Film Festival. "Film Review" focuses more on Quentin Tarantino.

"Quentin is known as a movie urchin, and before he became a film director, he used to run a video rental business and was a die-hard movie fan. However, some of the films he did not watch in the cinema, but were videotaped, which is an important reason for the rapid emergence of postmodern cinema. The average moviegoer has seen more films from different countries and regions through guò videotapes and movie channels, and their films are far from being as amazing as the old-fashioned cinema moviegoers who were before cheap videotape rentals.

Quentin's films were developed on the basis of videotape and American popular culture. National incense. Hong Kong's films have an inseparable feeling, and Italian cinema is also his favorite. bout。 de。 Souffle), 'Taxi Driver', 'True Colors' and other classics have become Quentin's favorites, so in Quentin's films, you can see countless tributes or references to the classics of the Golden Age. The emergence of 'vulgar' officially announced that postmodern films had finally formed a trend after entering the nineties, and Quentin's greatest contribution was to make 'shallow' postmodern films 'epic'.

"Vulgar is a work that is difficult to define, because it has too many connections with American culture, history and world movies, and the dialogue of the characters also has a lot of unofficial street slang and swear words, which also makes it more difficult for the audience to understand the film.

Vulgarity refers to the kind of vulgar content and poor binding, which is often made of recycled paper, which is produced by the mixing of discarded newspapers and books into pulp. Quentin's name is a hint that his film is made up of fragments of many other films and literary works, and that he has made all the tough content—violence, sex, politics, and national war—as easy to swallow as pulp or even ketchup.

There are many filmmakers who have put a lot of effort into interpreting the true meaning of postmodernity, but Quentin has built himself into a postmodern film hero with just one 'vulgar'.

"Vulgar, all four stories revolve around underworld gangs, but these stories are not related to each other and are not directly related, but the characters in the stories will appear in other stories, and Vincent becomes the central character in the series of stories, although he does not necessarily carry the most weight in some stories.

If it's just a few stories told in segments, there's nothing new about it. But Quentin splits the restaurant robbery at the beginning of the film into two segments, one at the beginning and one at the end; Not only that, but Quentin also breaks down several other stories as well, so that there is a ridiculous scene where the characters who died in the front continue to appear at the end of the movie. This makes the audience clearly aware that this is a fake movie, a vulgarity that has been accidentally torn off the beginning, the end and even some parts in the middle.

"Vulgar, glorifying or stylizing violence, this continues Quentin's attempt in 'Reservoir Dogs,' but it's more entertaining, with Quentin joking about violence and taking sex. Joking, joking about politics, joking about history, just with a scene where Hugo Lancaster and Uma Thurman dance a twist, Quentin easily reviews the history of American cinema, music and dance, plus the indifference to violence and evil in film noir and tough guys, the character design and pattern of robber movies, and incense. The intense action of Hong Kong films, the confusion between the miracle of magical realism and reality, makes the postmodern of this film reach the carnival Cheng dù.

Vincent salvage suck. The episode of the injection that draws a mark on her chest when Mia overdoses comes from the great 'One Hundred Years of Solitude. anos。 de。 Soledad), before Colonel Rio Reliano committed suicide, instructed the doctor to find a mark on his chest that would make him die a happy and accurate death.

Quentin himself said in an interview, 'My work is all about copying and arguing and mixing them together. I just plagiarize everywhere, and great artists always have to plagiarize. ，

"Vulgarity, the treatment of violence is one of the important reasons why the film can shine. Before Jules kills people, he argues with each other about which burger is the best and reads a Bible; Vincent and Jules wipes the car while arguing about who should clean the brains in the back seat of the car; The female taxi driver asks Butch to tell how she felt when she killed someone...

Glorifying or stylizing violence, this is not Quentin's original sword. In l960, Alfred and Hitchcock in 'Psycho), in which the sword created the most ritualized murder method in the history of cinema, and the murderer gradually approached the heroine in the shower with the change of editing rhythm; In l967, Arthur Payne (Arthur. Penn's 'male and female thieves' handsome men and beauties affirm each other's love in the robbery of a bank and the end of the world; In 1976, Martin Scorsese's 'Taxi Driver' l990's 'My Heart Wild. at。 Heart) l991's 'Flowers of the End' and 1992's 'The Silence of the Lambs' protagonists' ways of self-awakening and understanding the meaning of life are all violence.

Quentin differs from the former not because of his audacity and directness, but because he lived in the nineties: an era of style and fashion more than ever for music videos and sneaker commercials, and an era when life was cheaper than ever for street violence and the war in Bosnia-Herzegovina. Quentin's clever combination of social pop and criminal reality makes his violence shine more than visual.

Quentin does not directly associate 'vulgarity' with postmodernity, he seems to be telling everyone that after entering the nineties, the development of society is rapid, changeable, and worthless, no one has immunity, no matter whether they live or die, there is no reason and justice at all, and the movie is nothing more than trivia and jokes, it is a vulgar book. ”

The perspective of "Film Criticism" is very distinctive, mainly from Quentin's personal style, and gives the most direct affirmation of Quentin's postmodern stylization, which also makes their film reviews unique among the reviews.

Although "vulgar" is only Quentin's second work, it has established him as a "master" in one fell swoop, which is also a situation that many people did not expect, but it is also true, almost all film critics have focused their attention on Quentin, dissecting the strong style of "vulgar" from all angles.

According to the previous prediction of the "New York Times", such a situation is obviously expected: Quentin's personal style overshadows the style of the whole film, and the actors are completely drowned in the light of the director. But in fact, along with the rave reviews of "vulgar", the performances of the three main actors, Samuel L. Jackson, Hugo L.R. Lancaster, and Uma Thurman, have also been praised by different Cheng dù, among which Hugo is the most.

The "Los Angeles Times" traveled to Cannes and commented on the film for the first time.

"From the actor's point of view, 'vulgar' is a typical group portrait film, but this work is different from the general group portrait film, these group portraits never appear in a 'time and space' at the same time, but they are always closely linked, each story has its own protagonist, and the protagonist in this story will be a supporting role in another story, while developing the plot for other stories, it also leaves the foreshadowing of its own story in advance.

Uma Thurman's performance can be described as very good, natural and bewitching, lazy and casual, with red lips, a pair of bare feet, and black hair, which has become a highlight among the countless male characters in the movie; Samuel L. Jackson's performance is not unremarkable, his control of the lines is wonderful, but unfortunately, there is a lack of delicacy and explosiveness, whether compared with his own previous performances, or compared with the other actors in this work, it is slightly inferior, but he still does his job brilliantly; Comparatively speaking, Bruce and Willis have not made any breakthroughs, and they are still the image of a lone hero.

The real amazing thing is Hugo Lancaster, this time Hugo once again got rid of the shackles of self-image, presenting a completely different 'Hugo' - Vincent, in the whole movie, Hugo's tepid, unhurried, confused and charming temperament, casual with a little chic, and the role of Vincent is perfectly combined. When Vincent argues with someone, he slightly stretches out his index finger in front of his lips, and the charming gesture of his confused eyes becomes the most shining picture on the entire screen.

Hugo's eyes full of a thousand words, between the frowning eyebrows and slightly raised, completely interpret the complexity and delicacy of the role, which makes people stunning. (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! ）