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313Wolverine t1_j1kbkug wrote

I didn't go see them in the theatre because a friend told me it was terrible. Years later, I saw the part in vol. 2 where Beatrix goes and tries to kill Bud in his trailer on cable.

I was in awe. After they buried her I turned the TV off and went out and bought both movies and watched them, twice in one day.

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donsanedrin t1_j1kt0z2 wrote

Up until that point, Tarantino movies really pushed the idea of "chapters" in its pacing.

And I never really cared much that he goes out of his way to introduce chapters, but I can understand how it fits with the way he wants people to experience scenes.

It wasn't until the scene in which the Bride confronts Bud and he traps her and buries her that Tarantino's chapter format works brilliantly.

They introduce a flashback at a very tense point in the movie, and the flashback lasts so long that you almost forget where you last left the Bride at her lowest (thematically and physically).

So when the flashback sequence it over, and it immediately transitions back to the Bride in the coffin, it just feels so satisfying. Because you learn that, originally your thought the Bride was screwed and helpless, but the flashback shows that she actually has the skills and willpower to climb out of something as dreadful as this.

And the music they use, Ennio Morricone's "L'arena" starts off really bleak and desperate, and then suddenly grows into this triumphant crescendo.

That made the whole movie. I think its the most cinematic sequence Tarantino has ever done.

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Derp-state_exposed t1_j1ntzjx wrote

bleak and desperate are interesting descriptions. I come at this from an entirely different perspective, with an ear that was exposed to this track long before I actually enjoyed the film in entirety. But looking specifically at L’Arena, and at the minor -to-major -to minor chord progression , with drum clashes on downbeats - to me at least - are simply, yet structurally sound in expressing a harmony that draws in the listener, and establishes a progression before the whistling melody plays.

Without having made the picture-based connection before hearing it, I found the track to be more sound and true to contrapuntal form in clearly defined chord changes. When adding the whistle, then the trumpet melody, given the Spaghetti Western (Morricone especially) similarities in the chords and strings used, I found the track to be a layered anthem for a hero’s entrance.

In my case I hear the sounds distinctly, as I have a musical ear and mindset, but in analysis only- after the fact most definitely. In the moment of the beginning of the track, my mind’s eye is inspired, and moved to an inner awakening not unlike any hero grounds themselves in their training. I find myself grounded and focused through the clear string progression to start this track.

In hindsight, this scene is the anticlimax for The Bride, where she overcomes her obstacles with her training. L’Arena is the moment of the series where the champion, the hero is born.

But art is subjective, and many see and hear reality different, some do not subject themselves to the same study or discipline of the eyes or ears. Others seek an objective valuation- for better or worse, to each their own 🙏🍵

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donsanedrin t1_j1nvb5v wrote

I never saw the italian movie that the music originally plays over, not until a couple of years ago.

The opening minute and a half, to me, felt like music of somebody fixing to be executed. Like a death march, the final moments of somebody who is fixing to come to an end.

And the music literally stops, and pauses. It feels like it came to an end.

And then the horn comes in, and it feels like...rebirth. It feels spiritual. And then the drums are now in a steady beat, that builds. Feels like triumphant ascension.

And when I finally found that scene, it played out quite similar.

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Phillyredsox t1_j1kccdw wrote

That’s Bud in the trailer. Buck is the trucker in the hospital. The one that came to fuck.

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Dark-Myst t1_j1ko1b7 wrote

Actually, the trucker gets his lips torn off, Buck was a nurse.

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Phillyredsox t1_j1l5q3g wrote

That’s right. It’s been too long since I’ve seen them. I can’t find them on steaming anywhere.

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Dark-Myst t1_j1mbfek wrote

When in doubt, go to imdb.com

It will let you know which streaming service its on.

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Phillyredsox t1_j1mls8c wrote

The only thing it linked was Amazon Prime Video and you had to rent of buy. Of course IMDb is owned by Amazon so I’m not surprised. Actually, I may still have a digital copy I totally and completely obtained legally.

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Dark-Myst t1_j1mm1en wrote

Ok, go online and look for the cinema HD app, it's a standalone apk for your phone, if you want to go that route. Its what I use when my 6 streaming services I pay for don't have the movie I want to watch. It's almost like they want us to be captain of the high seas again.

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Phillyredsox t1_j1mmb5v wrote

Thanks! I’ll definitely check that out. And I think piracy is going to make a big comeback. It’s beginning to be more convenient and that’s what most people want.

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5lashd07 t1_j1kueg9 wrote

One of the most disgusting lines I’ve seen to open a scene: “The price is $75 a fuck my friend.” Right up there with “You white bitch, gimme some chon-chon!” from Blood In Blood Out.

Just rewatched 1 & 2 this week!

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bujweiser t1_j1kxgwb wrote

Or as the tv censors say, the one to…party.

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Forward_Cranberry_82 OP t1_j1kcg4p wrote

Yep I back to backed them yesterday. Can't wait to see what Quentin's final movie is. Really a maestro.

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Mr_Shyne t1_j1kwkpo wrote

For sure... Once Upon...Hollywood is something I cue up every week or two and the only reason I don't watch it more often is the fear it will get old lol... Basterds I have probably seen 25 times. Amazing films

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Puzzled-Journalist-4 t1_j1l5vn1 wrote

I know people want him to make an original film for his last film, but I secretly want it to be Kill Bill Vol.3 so badly. I'm dying to know what would happen to Kiddo after all these years.

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313Wolverine t1_j1kcpk1 wrote

Wasn't really a fan of Hollywood, If it weren't for the end it would have been a bust.

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Forward_Cranberry_82 OP t1_j1kczlr wrote

That one makes me wonder what I'm missing. Lots of people love it and he himself says it's his best work yet. I partly agree with you though, it doesn't have that normal beginning to end pizzazz

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SailingBroat t1_j1nwld7 wrote

It requires you to have the same (or at least understand his) reverence for Hollywood/LA lore. He portrays it as a place with a strong sense of Movie Magic/Movie History, and then within that urban fairytale he seeks to subvert that real history to grant a sort of small, retroactive justice to one of its unfortunate starlets, because she represents a million other starry eyed people who went to Hollywood to "make it" for a love of movies. I guess he's simultaneously showing the power and the grime of the LA dream, and also just having fun bending the reality of it.

It's his favourite because it's probably the most personal one in terms of representing his feelings about filmmaking and LA. It's like a film nerds love letter.

But all that makes it less accessible if you're just there for pure story, not atmos.

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Forward_Cranberry_82 OP t1_j1opunn wrote

I see, this makes sense. Yeah I have no idea what LA is about, no attachment whatsoever

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313Wolverine t1_j1kdbt4 wrote

Yeah, I felt the same way. I was waiting for the twist and it just never happened. Hateful Eight was ok, I felt bad for the coach driver.

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OneSalientOversight t1_j1kfia5 wrote

The idea of a person burning to death while semi submerged in a pool is hilarious.

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YeaItsBig4L t1_j1mfj5g wrote

It really sucks that negatively has such a power to influence. go see avatar yall

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