Some time after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. Bounty hunter John Ruth and his fugitive captive Daisy Domergue race towards the town of Red Rock, where Ruth will bring Daisy to justice. Along the road, they encounter Major Marquis Warren (an infamous bounty hunter) and Chris Mannix (a man who claims to be Red Rock's new sheriff). Lost in a blizzard, the bunch seeks refuge at Minnie's Haberdashery. When they arrive they are greeted by unfamiliar faces: Bob, who claims to be taking care of the place while Minnie is gone; Oswaldo Mobray, the hangman of Red Rock; Joe Gage, a cow puncher; and confederate general Sanford Smithers. As the storm overtakes the mountainside, the eight travelers come to learn that they might not make it to Red Rock after all...Written by
On September 26, 2014, the state of Colorado signed an agreement to fund the film's production with $5 million. The film was to be shot entirely in southwest Colorado. A 900-acre, high-mesa ranch had been loaned to the production for the filming. There was a meeting on October 16th, in which the county's planning commission issued a permit for the construction of a temporary set. Principal photography began on December 8, 2014, in Colorado on the Schmid Ranch near Telluride. See more »
Anytime we see the stagecoach in transit, the road surface has been cleared while the surrounding area is covered in deep snow. As there were no snow plows, and as the snow was falling rapidly accompanied by howling wind, there is no way the road could have been clear of snow drifts. In reality, the six horses would have labored to pull the coach through the snowstorm and the road should have been very difficult to traverse. Instead, it's clear that the road had been cleared of snow by the crew using a snowplow. See more »
The roadshow version of the film opens with a faux-vintage Weinstein Company logo, in flat white-on-blue with a very 70s font along with a "Cinerama" logo. The first few credits appear in the same font as the logo's before switching to Quentin Tarantino's usual Friz Quadrata. The standard release opens with only the normal Weinstein Company logo before going directly into the sweeping Panavision shots. See more »
From the week of December 25th to 31st 2015, the film was shown exclusively in a 'Roadshow' version at 100 locations across North America (about half of them were 70mm film projection, the other half digital). This version played without previews and ran 187 minutes, including a 4-minute Overture and a 12-minute Intermission. The 'Multiplex' version (digital only) runs 167 minutes, and was shown from January 1, 2016 onwards. In addition to not having the Overture and Intermission, it removes approximately six minutes of footage that Quentin Tarantino felt played better in the 70mm format. See more »
This is a fine piece of storytelling - a mystery, western, and political drama - all artfully melded together by a seasoned crew and talented actors.
The action is set in antebellum Wyoming, in the heart of a raging blizzard, in a frontier bar. Setting is very important here.
The period is meaningful for the political currents that flow in nearly all the characters. Feelings about the American civil war are very up-front, with complicit atrocity present in nearly all the characters. The war brought out horrible things in these people, and we see how they deal with that shared knowledge, both personally and to each other.
The blizzard provides the necessary isolation to the story. These characters are stuck with each other, and this forced closeness is central to the story - they're all Hateful, and that hate reverberates among them, destroying peace and hope. Hate is what brings them together and hate is what tears them apart. The blizzard also provides some interesting incidental elements that are fascinating to watch, like the hardship of a simple task like preparing guidelines, or going to the outhouse, and the cold hell explodes inward at times (when the door is opened) with punctuating effect, providing some breaks to the narrative, and even some needed laughs.
And the bar... This film's action takes place primarily in one large room. It feels very much like a stage play (as another reviewer mentioned), allowing greater intimacy with the characters and their interactions, while providing us with an opportunity to witness multiple scenarios unfolding at the same time. This density of action is very cool. We are afforded third person omniscience without losing connection with the motives and perspectives of the players.
And the stage setting meshes very integrally with the acting. We see the principal actors doing top-notch with not only their primary motivational actions, but nearly every choice in blocking and busy action. The director and production team make a very wise choice in showing the small little details of what's going on here. Attention is paid to realistic procedural actions, and reactions, for these details. The result is that we see characters behaving in reasonable ways to their environments, pausing to disarm a stranger, or undo a shackle, not simply because the plot calls for it, but because it's a reasonable choice that they would make at the time. Very refreshing to see, actually.
On the negative side, Tarrantino's choice to use narration was weakly executed. I don't know if there would have been a way to do this without narration, but the actual usage detracted from the ongoing story. Also, there were a few points in the action where the characters seemed to be a little too accepting of the events that transpire around them. This is purely a fault of direction/writing.
But overall, a very watchable film, that is notably unafraid to portray some very dirty and uncomfortable bits of the human psyche. Some folks seem to have an issue with this last part. My advice to them is to loosen up a bit and accept art that hurts a little. That's one of the things good art can do.
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