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
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 »
For it's theatrical release in India, the CBFC demanded that 1 minute and 34 seconds of cuts be made to the film removing some stronger elements of violence/gore throughout, coarse language and detail/dialogue relating to a scene of forced sexual activity. The cuts made are as follows: all scenes which feature shooting and violence were cut down by half of what was originally shown, the vomiting scene was reduced especially to shots of blood being vomited onto Daisy's face, reductions were also made to sight of Daisy cutting of a corpse's hand and to close-up shots of Daisy's face as she hangs from a rope in the final scene. The close-up shot of the Mexican's head being blown off after being shot was also completely removed. Further cuts were also made to the forced oral sex scene; removing all visuals of the act itself as well as toning down the visuals before the act were the nude man is seen walking through the snow. Sound edits were also made to this scene muting out some of Jackson's dialogue about the event; the phrases 'Black Pecker', 'Black Johnson' and 'Black Dingus' were all muted out along with some of the bad language used throughout the film, the terms 'bitch', 'whore' 'motherf**ker' and 'son of a bitch' were all muted out whenever used. The filmmakers were also required to attach an anti-smoking disclaimer and a health spot at the beginning (and at the middle of the film in versions with an Interval) they were also made to attach a small notice at the bottom of the screen whenever a character is seen smoking in the film. 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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