On the first day, the local premiere in Stockholm for Quentin Tarantino’s new western “The Hateful Eight” recorded in the broadest formats available: Ultra Panavision 70mm. The cinema Rigoletto in Stockholm has been rebuilt and borrowed optics from the US to show the film that goes up in a digital version over the country 13/1. Måns Hirschfeldt reviewing.
So what do we get when Quentin Tarantino spread out both in width and length? Yes, it begins with a musical overture composed by Ennio Morricone waiting for it all to roll on and as befits a proper evening’s performance is also pause before the movie is over after just over three hours. But what happens in between? Yes, oddly enough, Tarantino despite the opportunities 70mm the movie format offers choice to make a chamber play. Sure, we get some expansive views of Wyoming’s mountains and some shots have a great depth where we see låååångt into the blizzard. But mostly, we are trapped in a drafty and snowed stagecoach station along with The Hateful Eight – although I can not get them to just eight. Though some might consider to be more hateful than others …
The two bounty hunters played by Kurt Russell and Samuel L. Jackson, the female prisoner made by Jennifer Jason Leigh (which is perhaps the best in all the movie), and as a traveling executioner, an old sydstatsgeneral, a sheriff without a star and then some. Their mutual relationship is unclear but they have heard of each other by reputation. American civil war has recently ended, much bad blood has been shed and many emotions boil still. And close-ups of fixedly staring eyes and pursed lips is also something that does very well in 70 mm. Tarantino sense of how he wants it to look, in detail, it is unfailing.
The dialogue is also perfectly carved and carefully and pleasurable utsagd with an abundance of timbre. Though some of those involved are also entitled nagging, and some moments are what keeps one’s interest in life more how the talk – than what is talked about. And the story Tarantino has figured so to the extent that we are nice to wait out his explanations: Did you see this? What happened when we turned away? Who was it that poisoned coffee? Well, maybe that I actually would really like to get wonder it some more. But Tarantino pushing a situation to a head, but manages to portray just the drivers. There is talk of hatred, the spit and kicked and heads and balls shot to pieces, but it’s a bit like they all still most’re talking about what a Big Mac is called in France. It never feels as fleshy as it looks.
Some of the themes The Hateful Eight touchar, racism and revenge, Tarantino has made better movies about his last Django Unchained, for example. But nevertheless: the obsession he always dedicates each individual word, and individual image makes the film still enough fun in the moment because I do not really’ll notice that it does not last.