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The belated film review of the "Cinema Manual" uses "Subversion of Tradition" as the title to comment on "Pulp Fiction". As we all know, the "Cinema Manual" is a unique existence in the industry. The movies they recommend have a strong personal imprint. Maybe the entire public opinion circle is criticizing movies, but if they think it is good, that is good; vice versa, even if Everyone is complimenting it, as long as they think it's average, it's absolutely dismissive.

Therefore, the film reviews of the "Cinema Manual" are always a beautiful scene in the film industry, regardless of whether they agree or not, at least they are also eye-catching. This time, the "Cinema Manual" is full of praise for the "Pulp Fiction" that has subverted the entire film tradition.

"Chapter One, Structure."

"Pulp fiction, the structure of this movie is actually not very complicated, just like a movie title, it seems to be composed of different chapters of the novel, the whole film is divided into four parts, and the opening paragraph is regarded as a preface. The structure of the whole movie It echoes from the beginning to the end, while disrupting the order in the middle. This ring-shaped swordwork form breaks through the linear concept of time and space in traditional movies, but ignores the order of time and space in collage according to the director's idea.

This circular structure of swordsmanship fits the movie theme very well, because the cycle of violence does not stop, and this chaotic and disorderly structure also shows that the violent world does not have the chaos and disorder of the rules of survival.

Of course, such a structure can easily lead to confusion and misunderstanding in viewing, because the film uses the powerful actor Vincent played by Hugo Lancaster to run through and play a series role.

Chapter Two, Space.

In order to show the unique spatial composition of the underworld world, this film focuses on placing the scope of the characters' activities in enclosed carriages, suffocating elevators, narrow corridors, toilets, etc., creating a closed, rigid and linear world. .

Especially the performance of this specific space of the bathroom can be called a bright spot.

When Vincent and Jules went to pursue the suitcase, the accomplices hiding in the bathroom rushed out and shot indiscriminately; Vincent tried to break the hot air between him and Mia. In the atmosphere of ignorance, he chose to hide in the bathroom and hypnotize himself; in addition, Vincent also liked to read publications such as 520 novels in the bathroom. One time when a robbery occurred in a small restaurant, he was reading the publication happily, and one time. But the Butch’s family stood there waiting for him, but he casually read the same publication in the bathroom and died.

The bathroom is originally an extremely private space, but it is precisely because of its privacy that it becomes a place to hide dirt and at the same time suck. The evil abyss of poison and violence. Chapter Three, Rhythm. Quentin Tarantino’s ability to control the rhythm of the movie is breathtaking. This style of pacing first and rising later reveals more deeply the thoughts that hide many violent inducements in life, calm dialogues, and trivial things. It often brings an unexpected storm and hysteria afterwards.

After a plain conversation, Little Pumpkin and Little Rabbit suddenly pulled out their guns to rob in public; Vincent and Jules, after not looking for marginal small talk, suddenly broke into someone else’s room and started a **** cleansing; Vincent When he took Marvin back to deliver the task, he accidentally broke his head and broke the easy conversation between him and Jules; Vincent got up with poison before trying to rescue Mia. The traffickers trivially discussed how to get the needle...

This kind of rhythm processing is different from Steven Spielberg's "three minutes to make the audience laugh" and five minutes to make the audience cry. Instead, it calmly controls the subject of the film and reveals life itself. Chapter Four, Photography. In order to express the mystery and power of the underworld boss Ma Sha, carefully arranged from the composition, his appearance makes people feel dangerous. In the first scene of his negotiation with Butch, we actually heard his majestic voice-over in Butch's long close-up shots, and then he started painting with one hand. The next shot is a close-up of Masha's huge head that fills the foreground of the picture, while the Butch in the background is compressed into a small space. The contrast of power between the two people is clear at a glance. This difference in passing area The visual impact caused is great.

At the same time, in order to show the space for the activities of the underworld characters, the movie uses a lot of long shots, because the use of long shots and lengthy dialogue together can easily create a stifling and rigid atmosphere, and when the characters appear in hysterical scenes , And the use of long shots and jerky shooting methods together produced a unique audiovisual impact. Chapter 5, Sound. The sound processing of movies is also complicated and clever. For example, the handling of Butch's participation in a boxing match is very simple but effective, and it is handled entirely by sound. Butch woke up from his dream in the rest room and walked into the boxing ring. Immediately afterwards, we could hear the cheers of the audience almost breaking the eardrums. Next, we felt the progress of the match from a live broadcast of a boxing match listened to by a female taxi driver. It was completely described by sound, concise but realistic.

In addition, Butch went back to the apartment to fetch the gold watch. When he walked into the apartment compound from the back door, the sound processing was very lifelike; and when Butch walked into the room to kill Vincent, through clever editing and baking The whine of the bread machine combined to create a thrilling and tense atmosphere.

The most brilliant scene is the part where Butch started to choose weapons in order to save Masha, from the soundtrack to the sound cutting, as well as the use of the lens and the composition of the picture. There is humor in the tension and humor in the excitement. Easily, push the movie to **. Chapter Six, Characters. There are self-contradictory scenes in the characters in the movie. Vincent's decisiveness and cold-blooded execution of the traitor contrasts with his jerky, humorous, and casual when facing Mia; Jules recites the Bible before killing. His cruelty and coldness are in contrast with his choice to wash his hands after escaping from the dead; Butch’s brutality and blood in the boxing ring are in contrast to his pampering and maintenance when facing his girlfriend...

Almost every character can see such contradictory colors, which also makes the film's self-salvation color quietly blended into the story, and gives the violent story about the underworld a more meaningful connotation in real life.

Summarize.

"Pulp fiction, with its unique structure and new audio-visual language, has subverted the traditional film model, and has achieved outstanding results in breaking through the routine exploration of previous film noirs, especially in rhythm processing, photography style, and sound setting. ."

The "Cinema Manual" analyzes "Pulp Fiction" from almost every aspect. Although they did not choose to analyze the connotation of the film, nor did they discuss the characters, themes, ideas, etc., they only interpreted it from a technical level. , But you can still feel their admiration for this movie.

This is very rare for the "Cinema Manual", and with a high score of 3.4, it is not surprising that this authoritative magazine uses comments such as "subverting tradition" as a footnote to "vulgar fiction."

The same overall analysis of the movie is also the "Empire" magazine from the United Kingdom. This magazine has a lot of fate with Hugo. In the previous Hugo movies, "Empire" gave a very high evaluation. , This time is no exception. However, this time, "Empire" magazine did not specifically praise Hugo, but like other media, it praised Quentin.

"This is obviously Quentin's most important work."

From the point of view of the structure of the play, Quentin abandoned the traditional Hollywood method, and treated the whole film narrative into a ring structure that echoed from the beginning to the end with the method of separation of viewpoints. Under this novel overall structure, every story in'Pulp Fiction' is told clearly, and the greatest success of this novel narrative method is that it subverts the traditional linear narrative structure, but it is not due to The technique is too bold and too experimental and loses a large audience.

Violence is an unshakable theme in Quentin’s works. Frequent violent images in the film have been emphasizing that such time is a vicious cycle and never stops. Violence is everywhere in life. In front of it, life and death are both right and wrong. There is no justice at all. Under the cover of violence, Quentin also explored a more profound issue: accidental changes in fate.

In fact, "Pulp Fiction" has four parts, but overall it is a story, Mia's sucks. The overdose, the coincidence of Butch and Martha, the miracle that Jules experienced, the robbery in the restaurant, etc., are all accidental events, but it is these accidental times that changed the fate of the characters.

"Pulp fiction continues Quentin’s ability to control language during the'falling water dog' period. The dialogue of the story has a unique style, which not only conforms to the character’s identity and personality, but also hides the underlying culture and simple and simple philosophy. His black humor has become Quentin’s iconic label.

At the same time, the excellent performance of the actors in the movie is also worthy of admiration. Vincent played by Hugo Lancaster is a classic character, although his characteristics are not as obvious as Jules, and the conflict is not as clear as Mia. But Hugo gave Vincent a humorous but loose, cold but funny, casual but cautious mixed charm, and perfectly integrated with the temperament of the bottom mixed, and finally deduce Vincent to a different style. . Hugo's superb performance can be called a highlight ~www.readwn.com~Pulp fiction, another feature is its retrospect to the culture of the sixties and seventies and the description of the bottom culture. Similar to the style of gangster movies, crazy country, blues and rock, Jules's fluffy and explosive curly hair, and Mia's tight shirt and bell-bottom pants all exude a retro taste; and it's about fast food, cosmetics, and poison. Conversations of content and other content, the ubiquitous slang and swear words in the film are also true aspects of the American bottom culture.

In addition, in terms of film rhythm control, photography style, sound editing, etc., Pulp Fiction also has a unique style and color, and it is definitely the most personal film in the 1990s to date. "

The film reviews of the "Empire" magazine are more general. They have clicked on every detail. Although they are not detailed, their admiration for the film is unquestionable. According to the official score of the Cannes Film Festival By standards, "Empire" magazine scored an absolute high of 3.5 points!

After the brewing of professional film magazines such as "Movie Manual" and "Empire", the praise frenzy of "Pulp Fiction" finally invaded. (To be renewed. If you like this work, you are welcome to come to Kazakhstan to read and vote for the work to vote for a monthly pass. Your support is the biggest motivation for me to continue to create!)

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