Deeply disappointed with “Django unchained” , it took me a while before getting around to watching director Quentin Tarantino´s latest oeuvre. The take on a traditional western set in a wintry Wyoming starts off with breathtaking scenery shot in wide-angle Panavision. A wooden Christ on the cross covered by drifting snow. A stagecoach making it´s way through an icy expanse and the visual punch of the beautiful but sparse landscape. Long, lingering takes establishing a feeling of being on your own in a cold and hostile environment. Tarantino has a story to tell, and the surroundings are at the same time bleak and great-looking.
Amoral bounty hunter John Ruth is transporting murderer Daisy Domergue to the city of Red Rock to be hanged, when he is joined by two men with agendas of their own. The haphazard team takes refuge in Minnie´s Haberdashery to avoid an advancing blizzard, and when they find a group of men already in place, the story changes into a tightly directed chamber drama steeped in echoes of the American civil war. In some ways reminiscent of “Reservoir Dogs” and replete with Tarantino stalwarts like Samuel L. Jackson, Tim Roth, Kurt Russell and Michael Madsen, the further 3+ hour story twists and turns around themes of trust and deception.
Violent, but not excessively so in today´s meaning of the word. That said you can philosophize about the development of violence in movies. From the horror of someone being shot and falling down in the classic films of the 50´s, to today´s high-def exploding craniums and shot-off scrotums. As well as the change from yesterday´s moral hero to today´s ambiguous anti-hero, always looking out for number one. For film-makers, here´s a brave new world to deal with.
While forging a career cannibalizing movie history can sometimes make Tarantino look like an intellectual fake, his mastery of the medium lets us forgive everything. Who cares if his later movies are DJ mashups of huge amounts of genre films, as long as he pulls it off this beautifully.