ArkhamGlobe

Bringing this back from second page purgatory as I've been off the computer for a few days and haven't had a chance to respond... I understand your position though I'm obviously more accepting of over the top stylization. Basically what sweeps me along within the scene is a sense of stylistic fluidity, meaning that I connect with the scene more on an aesthetic than emotional level (though, as previously stated, I also connect on an emotional level). The Eisenstein parallel is interesting, and probably kind of accurate in a way. It's meant to hit on a more visceral level and, hopefully, get the spectator hooked in the moment. I agree to a point here, but I also think that the depiction of O-Ren the character kind of jars with the rest of the film, as O-Ren's character is fleshed out more than Vernita Green for example, and I feel Tarantino partly encourages the spectator to feel for O-Ren. As for switching to animated, that didn't bother me at all, since the film switches between different genres so frequently that I don't feel it jars with the rest of the film in that manner. I pretty much agree here. I personally feel that there's more to the genre hijinks though I haven't attempted an in-depth reading of the film(s) yet (I'm waiting for Vol. 2 to be released on DVD). I did however read a pretty interesting article about Vol. 2 in Sight and Sound a few months back that took a more in-depth look at the genre-play in the film. Too bad I don't have it handy . You're comparing me to one of Bergman's vampires? Damn. Anyway, I understand your point completely, and you're probably kind of right in this regard. Obviously poetry is superior to pushpin (I think the best films, and indeed the best artworks in general, hit on both a visceral, emotional and intellectual level), though I again obviously feel that there's more to Kill Bill than you do. I was bit unclear in my wording, I meant the scene in Vol. 2 with the pregnancy test and the retreating hitwoman. I was less arguing about Kill Bill here and more about the use of distancation effects in general, but I'd like to clarify that I don't think Tarantino's use of distancation effect is anywhere near the level of Brecht's or Godard's (atleast not in Kill Bill). In fact, I'm not even sure if Tarantino is attempting the effect consciously or not or if he's just using it for a cheap joke, though I feel his use of it can be read both ways. As for constructive ways of reading the genrebending in Kill Bill Vols. 1 & 2, I would off the top of my head suggest the following: Tarantino is using the aesthetics of the action genre(s) to portray the workings of a divorce between Bill and Beatrix, which comes to a head when Bill uses their daughter as a tactical device in the battle. Thusly the final confrontation more or less turns into a custody settlement. One should probably put a bit more thought into the reading, but I feel it could be an interesting framework in which to read the film. Glad to have been of help . The parallel you draw towards Unforgiven is very interesting and would be interesting to study further. Thanks for the discussion, this is fun.

RIP Marlon. While his later work was hardly anything worth mentioning for the most part, he was still unquestionably one of the great actors of all time. I personally consider his performance in Last Tango in Paris to be one of the greatest in cinema history.

SPOILERS! (I'm too lazy to use spoiler tags in this long a text) I got a bit carried away writing this and it ended up a bit (to say the least) longwinded. First things first, good article. I disagree with you on some points, mainly regarding the need for emotional investment (where mine differs radically from yours). Besides which, discussion is fun so let's get to it. First of all I should point out that I have not seen Eternal Sunshine of the Spotless Mind (as it hasn't opened in Sweden yet), thusly I am obviously not qualified to discuss it. I am also too lazy to rewatch Kill Bill vol. 1 so I'm doing this off the top of my head. Regarding the use of style in Kill Bill: this may just be me, but it's the stylistic devices in Kill Bill which draws me into the film, albeit, perhaps, on a more intellectual than emotional level. I observe with growing interest the way Tarantino crossbreeds different genres. O-Ren Ishii's flashback hits me on both an intellectual and emotional level, the shots when O-Ren's mother is killed in particular. When the sword shoots through the bed and blood starts running down the blade, alternating with the shots of O-Ren's eye beginning to fill with tears, the scene is both incredibly beautiful as well as sad. The basic emotions communicated through the scene are simple enough: fear and sorrow. These are emphasized by Tarantino stretching the duration of the sequence, putting me the specatator in O-Ren's place. This, coupled with the use of music gives the sequence in particular, and the scene in general, an almost epic feel, coinsiding with the almost ritualistic depiction and treatment of genre rules and conventions in the film. Of course, Tarantino's decision to have the word "whimper" appear from O-Ren's mouth in written form could easily argued to be there simply to get a cheap laugh. The point is valid, though I believe that it is overtly simple, because it does carry on the emotional themes of the sequence, and it emphasizes the danger that O-Ren is in. Does it work? That can be argued and probably to a large degree depends on the spectator him-/herself. But does this have any meaning beyond itself? That is arguable. One might ask if Tarantino is laying the genre framework bare before us in order to make some point regarding how these operate, like Jean-Luc Godard often did during the early 1960's? Personally, I don't think so, as Tarantino merely places the convention in a somewhat new garb and lets it play (he does, however, screw around with the conventions more in Vol. 2). The Sergio Leone reference is an effective (and, in my opinion, also very affective) device, and it makes the scene very memorable. However, does the reference have any meaning beyond itself? It does provide to a framework to use to read the film (the different genres at play throughout the film, how they interrelate and so forth...), but this requires the spectator to be able to spot the reference and to have seen the films referenced. On the other hand, a reference like the one to Shogun Assassin in Vol. 2 does however have more apparent direct meanings beyond itself. It achieves the same things as the Leone reference in that it namechecks a key influence and helps provide a framework in which to read the film. It also, however, comments on the characters and the action that is about to transpire. The central father-son relationship of Shogun Assassin is mirrored in the relationship between Beatrix and her daughter and it also pretty much lets us know what's in store for Beatrix and her daughter after Bill has been killed. Does this make the viewer care, however? I can only answer for myself personally, and I do care throughout the film, but I do so more because I am interested to see where Tarantino is going with his analysis (if one wishes to call it that). Do I care about O-Ren Ishii? I do so momentarily in the first part of the flashback scene, however, beyond that, not so much. I do however find her interesting because her character can provide an interesting framework to read the film from (her chinese-japanese-american heritage vs the films genrecrossbreeding and the practice of a filmmaker "borrowing" the filmmaking styles of other cultures for his own ends). But no, I do not particularly care what happens to her. But do I have to? For me, the answer would be no. Now it's time for me to explain my position. I need no characters to care about to be drawn into a film, pure stylistic devices can be (though they certainly aren't always) enough, as I believe that films centered on analyzing style and genre can most certainly have something meaningful to say. I'll use Godard as an example. When he, like in, for instance, A Woman is a Woman, shoots dance numbers with purposeful amateurism, removes the music from the musical numbers and instead uses it to underline the speech in the dialogue scenes, he isn't merely playing with the genre for his own amusement it also lays bare the genre conventions before us, hopefully teaching us something about the way we see traditionally view not only the genre itself, but cinema in general. He calls attention to the vehicle to awaken a critical awareness in the spectator, to paraphrase Brecht. One could argue that Tarantino attempts something similiar in Kill Bill. After lulling the audience into a false sense of security by examining but still adhering to genre conventions, when he finally breaks with it (for instance in the scene where Beatrix finds out that she's pregnant) this (hypothetically) jolts the spectator out from the illusion. This also has another effect, detatchment or distancation (whichever you prefer). I would argue that this is in many ways a necessary, and very valueable, device when used well. Personally though, I don't think Tarantino tries to achieve a distancation effect in the way Godard or Brecht would. Rather, I think it's more to both make a joke as well as to play with the genres, but the effect is still achieved, I feel, and I don't think it is to be disregarded. This is where my argument falters a bit, as I really need to rewatch Vol. 2 to be able to elaborate further. Despite how much I love O-Ren's flashback and the Battle(s) at the House of Blue Leaves for various reasons, these scenes towards the end of Kill Bill vol. 2 are the scenes that interest me the most, because of the way it side-steps genre convention to make us reflect on them. I am not the least bit disappointed when Bill and Beatrix finally fight because it adds another level to the film. Bill and Beatrix's actions are decided by the genre space they are occupying. Genre has thusly assumed the place of fate, continueing the ritualistic treatment of genre throughout the film. And that captures my interest even more.

Just thinking about this brings back alot of fond memories of me and my friends spending hour after hour playing games like Police Quest, Leisure Suit Larry, Day of the Tentacle, Full Throttle and the Monkey Island games back in the early 90's.

I got John Cale's latest album, Hobo Sapiens a couple of days ago. I've been liking it so far, though I haven't had the chance to listen it through and pay as much attention to it as I'd like yet.

I marvel at Deebo's immense creative wit. If "flaming" people by referring to them as faggots and other derogatory terms implying homosexuality isn't a sure sign of rhetorical genius, I don't know what is.

City of God is one of the best edited films I've seen in years. Through the cuts there is a sense of continueus motion that is absolutely exhilirating and it fits the narrative perfectly. And that's just one reason I loved the film. I was blown away completely when I saw it this past fall, I should look into getting the dvd.

The test was driving me crazy for about 5 minutes before I finally figured it out.

The beard is wrong but it was the closest they had. Beyond that it's passable.

Agreed on all points. Mine is numbered 1918/10,000

I'm a passable guitarist and a rather lousy pianist. I also used to play trumpet when I was 10, but now I doubt if I could even make rhythmic noise with it (of the good kind, at the very least). I can also fake my way through some very basic bass guitar stuff. I'm currently looking to improve my guitar playing and I'd also like to learn some other instruments (mandolin especially).

I don't quite know why you want me specifically to talk about Gene Clark, but yeah, he wrote some really great stuff for the Byrds obviously (like the previously mentioned Eight Miles High, which he co-wrote) but his solo work is certainly not to be neglected, as from what I've heard there's some really great stuff out there. Unfortunately I don't own any of his albums myself, though I've had some played to me by friends and I've been very impressed by most of it (I remember being particularly blown away by White Light and No Other). He's been almost criminally overlooked as a performer, more people should check out his stuff.

I finally got around to picking up Popol Vuh's Einsjäger & Siebenjäger, and it is absolutely phenomenal. The title track is some of the most mindblowingly beautiful music I've ever heard.

My three favourites from the Imdb list are Three Colours - Red, Pulp Fiction and La Reine Margot.

Pulp Fiction Kill Bill Vol. 1 Fight Club Reservoir Dogs

It's basically a kind of italian low budget westerns that became quite popular outside Italy after A Fistful of Dollars became an international hit. The (sub-)genre is mainly associated with the director Sergio Leone and his films A Fistful of Dollars; For a Few Dollars More; The Good, the Bad and the Ugly; Once Upon a Time in the West and Duck You Sucker (or A Fistful of Dynamite, as it is also known) which popularized it outside Italy and pretty much defined the special brand of aesthetic associated with the genre. There are ofcourse many others that are well worth checking out if you're into the genre, but Leone is the name most commonly linked to the genre.

Pulp Fiction Raiders of the Lost Ark Scarface Terminator 2: Judgment Day Kill Bill Vol. 1 Psycho (1960) Goodfellas Reservoir Dogs Rocky Taxi Driver The Shawshank Redemption Fight Club The Lord of the Rings: The Two Towers Star Wars: Episode V - The Empire Strikes Back Back to the Future The Usual Suspects

I'm actually rather hyped for this one. I liked the first film in the series, I thought the second was a reasonably big improvement, so I have hopes this film will continue the trend. As for the new Dumbledore, Michael Gambon is a great actor, so I think he'll do just fine.

I love westerns, be it the classic Hawks or Ford westerns, spaghetti westerns or Peckinpah style revisionist westerns, I love it all (well, perhaps not ALL westerns per se, but you catch my drift). However, above all there are the westerns of Sergio Leone. A Fistful of Dollars is a bit rough around the edges but the rest are absolute gold. The thing I love about Leone is his amazing sense of style, everything from the over the top compositions to Morricone's scores, through which he elevates the films and their situations to a down right operatic level. It's a tightrope walk that could easily degenerate into crude selfparody but Leone always manages to keep the films in control. My favourite is Once Upon a Time in the West, which is not only my favourite western, but also one of my favourite films period. And as an aside, one might also include the samurai movies of Akira Kurosawa, which are basically transposed westerns in many ways.

the U.K. No.1 on the 15th December 1981 was... Don't You Want Me by The Human League the U.S. No.1 on the 15th December 1981 was... Physical by Olivia Newton-John As I said the last time we did this, Human League is fine, but Olivia Newton John?

I got money today so I went out and bought the following: The Fall of the Roman Empire Rock 'N' Roll High School (I didn't even know this was out on DVD, imagine my surprise and subsequent joy when I saw it on a discount rack) The Miami Vice Collection EDIT: Oh, I forgot to mention that I also ordered Jacques Rivette's latest film The Story of Marie and Julien from french Amazon.

You should probably add a boss from LLG for Paul to converse with at times. He could be played by Robert Goulet. Perhaps you could also bring in a pissed off ex-wife of pastor Mike later on, or perhaps an illegitimate child? That could be interesting. As for Paul's assistant, one could go two different directions; either with a toadying suck-up or some laconic überprofessional who's not too happy to be working with Paul.

Back to the Future Star Wars: Episode IV - A New Hope American History X Taxi Driver Mallrats The Lord of the Rings: The Two Towers Reservoir Dogs Almost Famous Seven (Se7en) Goodfellas North by Northwest Star Wars: Episode V - The Empire Strikes Back Raging Bull Terminator 2: Judgment Day Fight Club Blazing Saddles Schindler's List Kill Bill Vol. 1 The Shawshank Redemption Citizen Kane Scarface Forrest Gump Raiders of the Lost Ark The Godfather Part II A Clockwork Orange Pulp Fiction Rocky Memento Psycho (1960) Platoon The Usual Suspects Clerks

I'll probably end up getting Smiles of a Summer Night, Stray Dog, Lancelot of the Lake and A Man Escaped at some point in the future.

If I'd been asked before Kill Bill came out I'd have said David Carradine. Let's just hope he starts choosing good projects from now on. As for others, I've always been a fan of Rutger Hauer for some reason, so I'll throw his name in there as well.