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In Reply to: RE: I'm a big fan and I was quite disappointed posted by Peter H-son on November 27, 2007 at 07:49:48
"Ineptitude becomes personal style. Repetitive and unimaginative direction becomes theme."
That is a bit harsh. And I don't think it comports with any theory of the "film auteur" which I know, or is even relevant to it.
Now there is bad film-making. It it is certainly possible for a director to be inept, repetitive and unimaginative. But I don't think that's the case here. I see a thematic consistency in this film, a very deliberate and almost cagey dramatic development.
I had the distinct feeling that the director was toying with the audience all the way through -- was this a mere grindhouse exploitation movie, or was there something more serious afoot? I thought it was important that the audience was being asked to pick out the realism from the mere cliche, the possible from the implausible, the serious from the absurd.
It seemed to me to be Tarantino's clear intention to put the audience in this position. It all seemed part and parcel of choosing to do a grindhouse flick in the first place -- to force us to draw a line between what we were entitled to react to emotionally, and what we weren't. In this fashion, I think Tarantino set about to say something about the nature of cinema itself, why we bother with it, and how it relates to actual experience.
Follow Ups:
I wasn't talking about Tarantino, but the postmodern film theory of "auteurism." It is an apologetic "theory." It wasn't a theory based on merit, but an attempt by some French fanboys with a fascination for everything American to justify their fascination. "To a man with a hammer, everything looks like a nail," Mark Twain wrote. And once the French fanboys started to look for authorial marks, they found them everywhere.
Haven't heard of 'em.
Now, the "auteur" theory of film making, that film making reaches its artistic zenith in when it is under the control of a single artistic presence, is something I am familiar with.
And I am not surprised that some people would regard Tarantino as a film "auteur," that is, and individual who imposes a unique artistic vision on a film, as, say, the Coens, or Fellini, or Bergman, or Welles, etc.
Truffaut and the other French critics-cum-directors never called it or considered it a theory. They only had a more general idea of authorship. Andrew Sarris formulated The Theory. So the "Auteur Theory" is an American theory.
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