The snow is a famous Western genre, which for fifty years had only one representative. This month is equal to two to come: Alejandro Inarritu “The Revenant” and Quentin Tarantino’s “The Hateful Eight”. In the fifty years before Klaus Kinski rode alone over the ice. He loved being alone so much that he even accompanied him as the sheriff of Snow Hill, lured on a frozen lake, to knock away the ground from under their feet. Later Kinski made even Jean-Louis Trintignant cold and his girlfriend, later Blaxploitation icon Vonetta McGee in her first role. The film carries in German to the adventurous title “The Great Silence”, probably because it hire could not believe from here to there.
“Il grande silenzio “the great silence is aged since 1968 not a single day when become ever younger. Cold holding freshly. Ennio Morricone, the Tarantino yes finally persuaded to a new soundtrack, after 35 years of abstinence Western, has never written better music than it was then. The cover story is pure nostalgia, the sky is full of low clouds and high strings. Somewhere in the distance languishes a choir, probably the outcasts, poor starving that have become out of necessity to bandits and hide in the mountains. Through the valleys stripes bounty hunter – Kinski Loco is the most cold-blooded only – that gracious promise them prison and then pull the trigger yet. “Dead or alive”, stands on the profiles, which they carry in your pocket as the corrupt magistrate the pocket. In the stagecoach, two corpses on the roof, they moisten the thumb and scroll whom has struck the hour.
As far as the landscape, so close the heart
Kinski kills Trintignant, his minions load the guns through, for a cynical massacre as / has> since then have not seen the film history P>
The director Sergio Corbucci was a Catholic and a communist, a rare setting, which might be called the Italian. In the film language that believes in nothing but ans celluloid, which summarizes all the beauty and all the suffering in the world and almost burns like a dissident or heretics at the stake, means Italian attitude that is on the screen sees nothing but the eyes of the hero or the villain, which one can only difficult to separate the spaghetti westerns. It’s as if the camera was looking at a return. Man sitting in the cinema , alone in his chair, in the best midnight notion delivered.
At the vastness of the landscape and the closeness of the heart, of passions, the cook on Low Temperature: hate, sex, Greed, revenge. Also of love you have heard in this godforsaken land, but it is similar to the horizon, flees from anyone who approaches. In “Il grande silenzio” the snow will be added. That is, it takes away even more, under it fades the world.
The Italo Western aims yes in principle to the abstraction. Origin of the figures? Not so important. Exposure? No matter. Stranger rides into town. That is enough, the rest remains to be seen. So it is in “A Fistful of Dollars”, by Sergio Leone four years earlier founded the genre. So it is in “Bad and the Ugly”, for its German title already one had to believe it. The original is called “The Good, the Bad and the Ugly”. And well, the hero, played by Clint Eastwood, even after standards, sitting deep as the cartridge belt or cut electric guitar who loved Morricone so is to hear in “Once Upon a Time in the West”.
A vampire does not freeze
While Leone Western – their hot, dusty landscape like no matter how inhospitable – always the germ of wear self-parody in itself, which rises at Tarantino completely, is Corbucci “silenzio” disciplined, austere, cool. Talkative cowboys in spaghetti westerns were never. Here, in the snowbound Dolomitenkaff, the Snow Hill plays in Utah, just the wind hisses through rickety shutters. Trintignant is dumb. As a child, his bounty hunter who cut through the vocal cords, so that he will not reveal who killed his parents. Since then, the people call him Silence, his monologues are a white noise.
With all these vacancies, the film becomes a fleeting sketch. You can be as fast capture by any interpretation. Deceit people neither hats nor guns, they believed in an art film, “Last Year at Marienbad” or “Stalker”. Although Corbucci rotates in color, but only that the blood better stand out from snow. Instead of faces, the figures represent visages showcased, grimaces, grotesque as of Grosz. Would the post once again not on time, you could talk about the late Pony Expressionism. The hat, the teeth a little longer – Klaus Kinski would be an insane vampire in “Nosferatu”
Iñárritu may have thought the same thing. “The Revenant” means the revenant, an old word for vampire. Leonardo DiCaprio slips, stumbles and crawls, with fever and cold all blue, with an eternal twilight. His costumes applies only to the blood of a man. That is, apart from a second, whose body is cold as the metal of an icy Colts: the Oscar , which escaped from him so far. But DiCaprio vomits steaming bison liver and can hurl down icy rapids. A bear tattered him, he rushes down precipices, as if they were trapdoors into the subconscious. Only the arrows of the Indians he dodges; Finally, fear undead have always been nothing but the stake in the heart.
Since when so much is spoken in Western?
The highest honor of the Motion Pictures Academy was Corbucci times unthinkable. At that time saw the “Evangelical Filmbeobachter” a concoction “with almost unsurpassable brutalities, without concern for the social aspect of the problem. In spite of theatrical performances of the main characters repugnant to nauseating. Rejected.” The failure to recognize the political dimension is a mystery today. The injustice, shoot with the heartless killer starving peasants for a bounty of $ 1,000 could not tortured scream in the steely sky. Everything, like Kinski noticed unmoved, in accordance with the law.
Of Tarantino knows nothing. The “Protestant Filmbeobachter” was too early. In the case of “The Hateful Eight” his judgment hits the mark as the balls, eventually making the Major Marquis Warren (Samuel L. Jackson) to put an end. As in “Django Unchained” Tarantino indicated to the racial issue; A running gag is the smoldering even after the end of the civil war hatred of the Southerners on the blacks.
In the beginning a snowed Jesus on the cross, a Bofrost Savior depends. Heaven sends instead hope Blizzard. But secretly Tarantino makes so little of snow like the spaghetti western tradition. He has to hurry, get it to a warm place, Minnie’s Haberdashery, a camouflaged as a dry goods store Saloon. He turns the classic noble 70mm format, in analogy flickering Super Panavision, and then filming mainly coffeepots. It is, as it would have made him great fun to waste enormous resources and to mock traditions. In place of Corbucci religion and politics is a Tarantino postmodernism, the ostensibly quotes and genre clichés homage, but in reality merely like himself. And in nearly 190 minutes of “Hateful Eight” as much is gequasselt as in all the old spaghetti westerns together.
Go outside, Quentin!
Iñárritu, the people ran away in droves because the rotation was so hard and inhuman as previously only “Fitzcarraldo” and “Apocalypse Now”, can be quote with the sentence, he would have “The Revenant” course can also rotate in Hollywood and in the evening always order pizza, but that would be then also seen. One may find cold-hearted and perhaps exaggerated. The pathos, the drinsteckt there, even his film does not escape. The frosty nature which shows his cinematographer Emmanuel Lubezki is beautiful and cruel, but also always the tick too long in the picture that it acts vain – when admire a frozen lake in the mirror. Nevertheless, although Tarantino even Ennio Morricone won for the soundtrack, “The Revenant” the greater homage to “Il Grande Silenzio”. After Bear Attack DiCaprio also silenced; He becomes the second Silence, merely unshaven.
And the white, the misanthropic cold, is not merely an excuse for an Agatha Christie Kammerspiel the fireplace as with Tarantino. The wild winter becomes a projection of the protagonists soul, an evil dead place that every hidden who looks. In “Moby Dick” Melville has devoted a chapter of the monstrous “White Whale”. He is concerned with the confrontation with the terror of the unknown. So also Tarantino’s strongest scene is not playing in the dry goods store, but in the icy expanses of Wyoming, far from any habitation. A naked, freezing white man who, before he lost consciousness from the cold, of course, was been a bounty hunter, clings to the final heat source, he will ever have. The scene sucks itself firmly in my memory as the end of “Il grande silenzio”. Oh, Tarantino himself would have often attracted the boots and had gone out!
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