Steve Reviews The Hateful Eight
QT wanted this film to be special. Sure, you can sit down and watch it in any old cinema, but if you're lucky, you live near one playing the special "Roadshow Engagement." The Roadshow is made to be like the epics of old, complete with a five minute overture at the beginning, a ten minute intermission in the middle, and a commemorative program handed out at the box office. To complete the nostalgia, he dusted off some old Panavision 70mm lenses and went to work shooting this western epic in a format that hadn't been used since the 1970's. Although even then, it was on its way out. 70mm film had its hey day in the 50's when it was used to shoot big epics like Ben Hur and Mutiny on the Bounty. What is it? It's a special double-wide film that allows for a wider than normal widescreen shot. The results are stunning.
Why so special? Well, first off, it's actual film. Remember that? We've been knee-deep in the digital age for a while now, but I must say... Sitting toward the back of the crowded theatre, I heard the low hum of a motor. I turned around and there before me was actual film going through an actual projector. And standing there was an honest-to-God, live human being running the thing. Goosebumps broke out immediately as a tear of happiness formed in my eye. The lost art of projection has had a small resurrection, thanks in part to Mr. Tarantino. Apparently, this phenomenon was so lost on the viewing public that as the end credits rolled, I witnessed no less than five persons walk to the back row and snap a cell phone camera photo of the film and the projector. I was lucky enough to be the man behind that glass for so many years that it hurt a little to see this being treated like a museum tableau or a rare animal sighting.
The story of The Hateful Eight is interesting. No not the plot, the story of the film's history. QT wrote this thing many, many moons ago. Around the time of Inglorious Basterds, the script got leaked on the internet, and QT vowed not to make it because all the surprise had been taken out of it. I can't say I blame him. So the script sat on the shelf for a long time. In 2014, he staged a one-off reading of the script before a live audience, using his actor friends. This night was so successful that he decided it would actually be his next film. And here we are.
Perennial favorite Samuel Leroy Jackson and Kurt Russell (wearing the greatest mustache of all time) are the lead characters. Russell is on his way to cash in a $10,000 bounty on a murdering, female outlaw he has cuffed to wrist, played by Jennifer Jason Leigh. Jackson is also on his way to collect on some bounties, and the two men (and one woman) share a ride. Unfortunately, there is a blizzard happening. They, along with another character they pick up - played by Walton Goggins (fans of Sons of Anarchy will remember him as the tranny Venus Van Dam) get holed up in a one-room establishment to ride the storm out. They find several other men there, each with a story, and the game of "who is telling the truth" begins.
QT's films are almost exclusively "talkies." Dialog is what he does best. This one is no different. The characters are all really developed by what they say more than by what they do. Sam Jackson plays a very typical Sam Jackson role, but it's enjoyable. Kurt Russell is wonderful as the commanding bounty hunter, bound and determined to not let anyone take his prize. Roles by Eli Roth, Demian Bechir, Michael Madsen, and Bruce Dern are all top notch too. I must say that Goggins is the standout, though. His character says he is the new sheriff of the town that everyone is trying to get to, but can he be trusted? Goggins is an over-the-top lawman extraordinaire, and I would love love love to see him get a Supporting Actor nomination.
The film is divided up in chapters, like his last two films (Django Unchained and Inglorious Basterds). This one is mostly linear, and that was a little off-putting. The includion of one back-story chapter that explains things at the end of the film felt like a cop-out. Also, there is some sporadic narrating (done by QT himself) that also feels inconsistent. That being said, QT will likely get a nom for screenwriting, which, if we're all being honest, may not be warranted. You may recall that he was screwed out of a screenwriting Oscar for Basterds, and the Academy awarded him that "I'm sorry" Oscar in the same category for Django - which was entirely too long and disjointed for that prize. Hateful Eight is also very long-winded. It comes in at around 3 hours for a story that could easily have been told in two and a half. For the second film in a row, style seems to have taken precedence over substance. Eight was more enjoyable than Django, but the story is simple, and the length doesn't match it.
One interesting thing was that QT managed to get Ennio Morricone to come out of feature film retirement to score the film. Mr. Morricone is best known for that whistling theme to The Good, The Bad, & The Ugly. He's scored hundreds of things, but he's (unbelievably) never won an Oscar. I think that could change this year with this film. The score is outstanding, and this would be a perfect chance for a lifetime achievement statue (of course, they'd never actually call it that). Overall, I'm predicting 5 nominations. Screenplay, Cinematography, Score, Best Supporting Actor (hopefully Goggins), and Best Picture.
-Steve
1.3.2016
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