Is Pulp Fiction an authentic Quentin style?

After watching Hate Eight, I decided to write about that movie, but I didn't know what to write. This is a very depressing thing after watching Quentin's movie. Eight "villains" met by chance because of a snowstorm, then started a mouth cannon all the way, and finally started a Quentin-style violent aesthetics at the post office.

People who still don't understand the style of conversation, especially Hateful Eight, really don't understand. People who are not familiar with American history may wish to look at the popular stickers on Douban before watching this movie, otherwise they will definitely go crazy.

Hateful Eight, whether it is a ring structure, a fixed close-up or a violent scene, still has a strong Quentin style, but the sublimation of the theme is obscure and makes people feel uncomfortable. This is not an authentic Quentin style.

Among Quentin's works, Pulp Fiction, which won the Palme d 'Or Award, is the most authentic. Pulp Fiction gives you an illusion that Quentin, an old rascal, is not making a movie, but acting a movie and playing with the audience.

The chapter structure in Hate Eight comes from Pulp Fiction. The film consists of three stories: the wife of Vincent and Martha, the situation of Jin Biao and Bonnie, and the preface and conclusion of the film. Seemingly independent stories, but interrelated, in the end, you will find that this is Quentin's little trick. Quentin splits and rearranges a story on a timeline through editing, so that you can see the dead people in front come back to life. This is called a ring structure. This trick was later used by many directors, but in 1994, this kind of impact on the traditional narrative structure is undoubtedly a pioneering work, and even today it is applauded.

Many people have named Quentin "postmodern deconstruction", and I think Quentin must be very disdainful about it. A rogue, a genius, an out-and-out "old rogue", how does he define himself with this word? It seems to me that he just wants to play like this, so that he can satirize the world and let them know that movies can still be made like this.

Quentin's films are absurd, the characters are inexplicable and the definition of good and evil is vague. He reconstructed and defined the bad guys and good guys in the traditional sense, breaking the traditional narrative of Hollywood.

At the beginning of the film, pumpkin and rabbit discuss robbing the bank in the shop, and finally decide to rob their shop. The background music is cheerful and jumping music, and the tone of the film has been laid. This will be a farce.

Vincent and Jules have been talking about the mess in the car, on the road and in the room before killing people. Quentin used hand-held photography to follow the camera to show the randomness of the characters. Before entering the room, in the long corridor, the killer entered the panoramic view because it was too early to start chatting. The audience stood by and thought, "Holy shit, are these two fucking killers?" After entering the room, it was still chatting, Jules was photographed upside down, and the murdered man was photographed on the top of his head to show their relationship, one was strong and the other was weak. When everyone thought they would talk all the time, the killing suddenly began. Jules suddenly shot and started killing people after reading a Bible with great interest. This is Quentin's typical style. Killing and bleeding is always sudden and absurd.

Reading a Bible before killing people is an extremely pretentious way, which was imitated by many movies later, such as Hag starring Louis Koo, but the one that influenced me the most was The Executioner in 2000, in which two brothers always read a Bible before killing people, which is very Quentin's shadow.

A lot of conversations will inevitably distract or bore the audience. Some directors use quick editing to catch the audience. Quentin, an old bastard, wouldn't do that. In the dialogue between the boxer and the boss, Quentin used the fixed long-shot close-up and the boss's voice-over local shot to break the space closure, and shifted the audience's attention to the outside of the painting without paying attention to the dialogue of the characters.

There are two classic stories about Vincent and Martha's woman. One is their funny twist dance, which reminds people of the dance scenes that often appear in early Hollywood movies. This is Quentin's little joke. Another scene is a shot of a needle sticking into the heart. I believe many people hate Quentin. Although there is no plasma in this scene, it still makes adrenaline soar.

The story of boxer Butch occupies a long space in the film, and Quentin's style is also obvious. Butch got into a taxi after killing, and the female driver kept asking him how he felt about killing. You fully understand that no one in this movie is normal, and everyone is in an absurd mode. Quentin strengthened another point of their humanity and constantly created unexpected coincidences. In order to shock the audience's traditional ideas.

Butch's family table stayed in his father's ass for five years and was seriously told by a soldier. To tell the truth, I laughed at that time. Quentin is really poisonous.

Butch went back for the watch, accidentally killed Vincent, accidentally met Martha, accidentally met the sodomy duo, accidentally made up with the boss, while passers-by died in an accident, and the little black man died of Vincent's accidental shooting. Because of the accident, this is a group movie, and there is no absolute protagonist. You think the protagonist may die halfway, but Quentin is actually playing with the audience. This is also reflected in Bonnie's situation. When people thought Bonnie was an important person, it turned out that she was just a housewife, and even a few seconds after she appeared, she was still a person. The audience's thinking inertia was played by Quentin again and again. If Quentin is not crazy, he must be a genius.

Of course, this is also the embodiment of Quentin's violence aesthetics. In all his films, shooting is never a foreshadowing, and there are often gunshots in the most unexpected places of the audience. Some people say that this is Quentin's view of violence. Violence is often sudden and unpredictable, so it has a unique aesthetic feeling. When all this is put into a circular structure, it has the meaning of violence.

The film directed by Du Qifeng is very similar to Quentin's style. Sudden gun battles and a large number of deaths in bullets, exile and PTU are fatalism and absurdity, and various contradictions and conflicts are also their specialties.

The most important contribution of Pulp Fiction is not its profound connotation, because it really has no connotation, but the embodiment of the director's talent. His greatest contribution is the subversion of the traditional film narrative.

It turns out that movies can still be shot like this!