Jinoiy asar - Pulp Fiction - Wikipedia

Ushbu maqola film haqida. Boshqa maqsadlar uchun qarang Jinoiy asar.

Jinoiy asar
Pulp Fiction (1994) poster.jpg
Teatrlashtirilgan plakat
RejissorKventin Tarantino
Tomonidan ishlab chiqarilganLourens Bender
Tomonidan yozilganKventin Tarantino
Hikoya
Bosh rollarda
KinematografiyaAndjey Sekula
TahrirlanganSalli Menke
Ishlab chiqarish
kompaniyalar
TarqatganMiramax filmlari
Ishlab chiqarilish sanasi
  • 1994 yil 21 may (1994-05-21) (Kann )
  • 1994 yil 14 oktyabr (1994-10-14) (Qo'shma Shtatlar)
Ish vaqti
154 daqiqa[1]
MamlakatQo'shma Shtatlar
TilIngliz tili
Byudjet8-8,5 million dollar[2][3]
Teatr kassasi213,9 million dollar[2]

Jinoiy asar 1994 yilgi amerikalik neo-noir qora komediya jinoyat haqidagi film yozgan va boshqargan Kventin Tarantino, kim uni homilador qildi Rojer Avari.[4] Bosh rollarda Jon Travolta, Samuel L. Jekson, Bryus Uillis, Tim Rot, Ving Rhames va Uma Turman, bu jinoyatchi Los-Anjelesning bir nechta hikoyalarini hikoya qiladi. Sarlavha pulpa jurnallari va qattiq qaynatilgan 20-asr o'rtalarida ommalashgan, o'zlarining zo'ravonlik va zararli dialoglari bilan mashhur bo'lgan jinoyatchilik romanlari.

Tarantino yozgan Jinoiy asar 1992 va 1993 yillarda Avari dastlab yozgan sahnalarni o'z ichiga olgan Haqiqiy romantik (1993)[iqtibos kerak ]. Uning fitnasi sodir bo'ladi xronologik tartibdan tashqari. Film ham o'z-o'ziga havola a bilan boshlangan ochilish lahzalaridan sarlavha kartasi "pulpa" ning ikkita lug'at ta'rifini beradi. Ko'rgazmali vaqt monologlar va eklektik dialog bilan tasodifiy suhbatlarga bag'ishlangan bo'lib, har bir personajning bir nechta mavzular bo'yicha istiqbollarini ochib beradi va filmda kinoya hazil va kuchli zo'ravonlikning kombinatsiyasi. TriStar rasmlari xabarlarga ko'ra "juda aqldan ozgan" deb ssenariyni rad etgan. Keyin Miramax hamrais Xarvi Vaynshteyn Ammo hayratga tushishdi va film Miramax tomonidan to'liq moliyalashtirilgan birinchi film bo'ldi.

Jinoiy asar g'olib bo'ldi Palma d'Or da 1994 yil Kann kinofestivali, va juda muhim va tijorat muvaffaqiyat edi. Bu ettita mukofotga nomzod bo'lgan 67-chi Oskar mukofotlari, shu jumladan Eng yaxshi rasm va g'olib bo'ldi Eng yaxshi original ssenariy; u Travolta, Jekson va Turman Akademiyasi mukofotlari nominatsiyalariga sazovor bo'ldi va o'zlarining martabalarini oshirdi. Uning rivojlanishi, marketingi, taqsimoti va rentabelligi katta ta'sir ko'rsatdi mustaqil kino.

Jinoiy asar Tarantinoning shoh asarlari sifatida keng tanilgan, uning ssenariy muallifligi uchun alohida maqtovlar mavjud.[5] O'z-o'zini refleksivligi, noan'anaviy tuzilishi va kengligi hurmat va pastiche tanqidchilar uni toshbo'ron qiluvchi tosh deb ta'riflashga olib keldi postmodern film. Bu ko'pincha uslubning elementlarini qabul qilgan filmlar va boshqa ommaviy axborot vositalariga ta'sir ko'rsatadigan madaniy suv havzasi deb hisoblanadi. 2008 yilda, Ko'ngilochar haftalik uni 1983 yildan beri eng yaxshi film deb topdi[6] va ko'plab tanqidchilar ro'yxatida paydo bo'ldi eng buyuk filmlar. 2013 yilda, Jinoiy asar Qo'shma Shtatlarda saqlash uchun tanlangan Milliy filmlar registri tomonidan Kongress kutubxonasi sifatida "madaniy, tarixiy yoki estetik ahamiyatga ega".[7][8][9]

Uchastka

Hikoya tarkibi

Jinoiy asar's rivoyati xronologik tartibda aytilmagan va uchta asosiy o'zaro bog'liq hikoyalardan iborat: Mob shartnoma qotil Vinsent Vega bu qahramon birinchi hikoyaning sovrindori Butch Kulidj ikkinchisining, Vinsentning sherigi Jyul Uinfild esa uchinchisining bosh qahramoni.[10]

Film er-xotin tomonidan sahnalashtirilgan ovqatni ushlab turish bilan boshlanadi, keyin Vinsent, Jyul va Butchning hikoyalariga o'tadi. Nihoyat, u boshlagan joyiga, ovqatlanish joyiga qaytadi. Yetti hikoya ketma-ketligi mavjud; uchta asosiy hikoyalar satrlari oldin:

  1. "Prologue - ovqat" (i)
  2. "Vinsent Vega va Marsellus Uollesning rafiqasi" ning muqaddimasi
  3. "Vinsent Vega va Marsellus Uollesning rafiqasi"
  4. "Oltin soat" ga kirish (a - fleshback, b - hozirgi)
  5. "Oltin soat"
  6. "Bonni bilan bog'liq vaziyat"
  7. "Epilog - Ovqatlanish" (ii)

Agar ettita ketma-ketlik xronologik tartibda bo'lsa, ular quyidagicha ishlaydi: 4a, 2, 6, 1, 7, 3, 4b, 5. 1 va 7-qatorlar qisman bir-biriga to'g'ri keladi va 2 va 6-qatorlar kabi har xil nuqtai nazardan taqdim etiladi. Filipp Parkerning fikriga ko'ra, strukturaviy shakl "boshlanishi va oxirini qo'shadigan va har bir alohida epizod elementlariga havola qilish imkoniyatini beradigan dumaloq hodisalar bilan epizodik rivoyat" dir.[11] Boshqa tahlilchilar bu tuzilmani "aylana bayoni" deb ta'riflaydilar.[12]

Xulosa

Xitmenlar Jyul Uinfild va Vinsent Vega o'zlarining xo'jayini, gangster Marselli Uollesga biznes sherigi Bretdan portfel olish uchun kvartiraga kelishadi. Vinsent portfel tarkibini tekshirgandan so'ng, Jyul Bretning sheriklaridan birini otib tashlaydi, keyin u Vinsent bilan Bretni Marselni ikki marta kesib o'tishga uringani uchun Muqaddas Kitobdagi bir parchani rad etadi. Ular portfelni Marselga olib borishadi, lekin u chempion bokschi Butch Kulijga pora berguncha kutish kerak sho'ng'in uning bo'lajak o'yinida.

Ertasi kuni Vinsent sotib oladi geroin uning narkotik sotuvchisi Lensdan. U o'q otib, keyin Marsellus shahardan tashqarida bo'lganida hamrohlik qilishga kelishib olgan Marsellusning xotini Mia bilan uchrashish uchun haydab ketadi. Ular 1950-yillarga bag'ishlangan restoranda ovqatlanadilar va a-da qatnashadilar burama musobaqa o'tkazing, so'ngra kubok bilan uyga qayting. Vinsent hammomda bo'lganida, Mia uning geroinini topadi, xato qiladi kokain, uni xo'rlaydi va dozasini oshirib yuboradi. Vinsent uni Lansning uyiga shoshadi, u erda uni an bilan tiriltiradilar adrenalin uning yuragiga otildi.

Butch Marselga xiyonat qiladi va jangda g'alaba qozonadi, tasodifan raqibini o'ldiradi. U va uning sevgilisi Fabienn pastda yotib, qochishga tayyorlanayotgan motelda Butch otasining tilla soatini, sevimli merosini qadoqlashni unutganini anglab, g'azabga uchib ketdi. Soatni olish uchun kvartirasiga qaytib, u a xabar beradi MAC-10 oshxona peshtaxtasida va hojatxonaning yuvilishini eshitadi. Vinsent hammomdan chiqadi va Butch qurolni ichkarida qoldirib, uni o'ldiradi.

Butch mashinasida svetoforni kutib turganda, Marsellus uni tasodifan ko'radi. Butch o'z mashinasini Marsellusga urib yubordi, ikkala erkak ham yarador va hayratda qoldi. Yaqinlashgandan so'ng, Marcellus qurol olib chiqib, Butchga o'q uzadi va uni lombardga quvib chiqaradi. Butch ustunlikni qo'lga kiritadi va qurolni Marselga qaratadi, ammo egasi Maynard ularni ikkalasini ham qurol bilan ushlaydi va ikkalasini ham podvalda bog'lab qo'yadi. Xavfsizlik xizmati xodimi Zed Maynardga qo'shiladi. Ular birgalikda Marselni zo'rlash uchun boshqa xonaga olib ketishadi va "gimp" ni, qullik kostyumi, Butchni tomosha qilish uchun. Butch bo'shashadi va gimpni musht bilan urib tushiradi. U qochmoqchi, lekin a bilan qaytib, Marselni qutqarishga qaror qildi katana lombarddan va Maynardni o'ldirish. Marsellus Meynardning o'qotar miltig'ini olib, Zedni tirnoqqa otadi. Marsellus Butchga, agar u zo'rlash haqida hech kimga aytmasa va Los-Anjelesdan abadiy jo'nab ketadigan bo'lsa, ular teng ekanliklarini ma'lum qiladi. Butch Fabienni Zednikida olib ketadi maydalagich va ular haydab ketishadi.

Avvalroq, Vensan va Jyul Bretni o'z xonadonida o'ldirgandan so'ng, yana bir kishi hammomdan otilib chiqib, ularga vahshiyona o'q uzdi, ammo har bir o'q bilan sog'inib ketdi; qisqa vaqt ichida o'zlarini yaralarini tekshirgandan so'ng, Jyul va Vinsent uni otib o'ldirdilar. Jyul ularning tirik qolishi Vinsentning mo''jizasi deb hisoblaydi. Jyul haydab ketayotganda, Vinsent tasodifan Bretning sherigi Marvinning boshiga o'q uzib, o'zlarini va mashina ichki qismini kundan-kunga qon bilan qoplaydi. Ular mashinani Jyulning do'sti Jimmining uyiga yashirishadi, u rafiqasi uyga kelguniga qadar muammo bilan shug'ullanishni talab qiladi. Marsellus yuboradi tozalovchi, Jyul va Vinsentni mashinani tozalashga, jasadni yukxonada yashirishga, qonli kiyimlarini utilizatsiya qilishga va mashinani chiqindixonaga olib borishga yo'naltiradigan Uinston Vulf.

Ovqatlanish paytida Jyul Vinsentga jinoyatchilik hayotidan ketishni rejalashtirayotganini aytadi va ularning kvartirada "mo''jizaviy" omon qolishining belgisi ekanligiga amin ilohiy aralashuv. Vinsent hammomda bo'lganida, "Qovoq" va "Asal quyonchasi" deb nomlangan juftlik restorani ko'tarib, Jyulning portfelini talab qilmoqda. Uni mazmuni bilan chalg'itib, Jyul Qovoqni engib, qurol bilan ushlab turibdi; Honey Bunny isterikaga aylanib, unga qurolini o'rgatadi va Vinsent qurolini unga qaratib qaytib keladi, ammo Jyul vaziyatni yumshatmoqda. U Muqaddas Kitobdagi parchani o'qiydi, jinoyatchilik hayoti to'g'risida ambivalentsiyani bildiradi va qaroqchilarga naqd pullarini olib ketishga ruxsat beradi. Jyul va Vinsent qo'llarida portfel bilan ovqatlanuvchini tark etishadi.

Cast

Marsellus Uollesda ishlagan Jyulning sherigi. Tarantino "Travolta" ni ijro etdi Jinoiy asar chunki Maykl Madsen Vik Vega o'ynagan Suv omboridagi itlar, ko'rinishni tanladi Kevin Kostner "s Vayt Erp o'rniga. O'shandan beri Madsen qaroridan afsusda ekanligini bildirdi.[13] Xarvi Vaynshteyn uchun surildi Daniel Day-Lyuis qismida.[14] Travolta pasaytirilgan stavkani qabul qildi - manbalarda aytilishicha 100000 yoki 140.000 AQSh dollari - lekin filmning muvaffaqiyati va uning o'zi Akademiya mukofoti "Eng yaxshi aktyor" nominatsiyasi uning karerasini jonlantirdi.[15] 2004 yilda Tarantino "Birodarlar Vega" rolida Travolta va Madsen ishtirok etgan film uchun g'oyani muhokama qildi; kontseptsiya amalga oshirilmagan bo'lib qolmoqda.[16]
Marsellus Uollesda ishlaydigan Vinsentning jinoyatda sherigi. Tarantino Jyulning qismini Jeksonni yodda tutgan holda yozgan, ammo uning birinchi tinglovi soya ostida qolgan Pol Kalderon; Jekson tanlovni faqat o'qish deb o'ylagan edi. Vaynshteyn uni ikkinchi marotaba ko'rikdan o'tkazishga ishontirdi va uning yakuniy ovqatlanish sahnasi Tarantino ustidan g'alaba qozondi.[17] Dastlab Jyul ulkan afro bilan yozilgan, ammo Tarantino va Jekson bu borada kelishib olishgan Jeri jingalak filmda ko'rilgan parik;[18] bir sharhlovchi buni "filmlardagi qora tanlilarning gettolashuvi haqidagi jimgina kulgili bayonot" deb qabul qildi.[19] Jekson eng yaxshi ikkinchi darajali aktyor nominatsiyasida Oskar nominatsiyasini oldi. Kalderon filmda Marselning ijtimoiy klubida bufetchi Pol, shuningdek Marselning yordamchisi sifatida rol o'ynaydi. Tarantino rolini yozgan Lorens Fishburne,[qarama-qarshi ] kim uni rad etdi. Tarantinoning so'zlariga ko'ra, Fishburne buni rad etgan, chunki uning jamoasi buni bosh rol sifatida ko'rmagan;[20] Keyinchalik Fishburne filmni geroinni maftun etganini sezgani uchun uni rad etganini aytdi.[21]
Uollesning rafiqasi va intiluvchan aktrisa. Miramax buni ma'qulladi Xolli Hunter yoki Meg Rayan Mia roli uchun. Alfre Vudard va Meg Tilli ham ko'rib chiqildi, ammo Tarantino birinchi uchrashuvidan so'ng Turmanni xohladi.[22][23] U karavotda sigareta bilan paydo bo'lib, filmning reklama materiallarida ustunlik qildi. U eng yaxshi ikkinchi darajali aktrisa uchun Oskar mukofotiga nomzod bo'ldi. Mashhurlarga kiritilganiga qaramay A-ro'yxat, Turman shu paytgacha katta byudjetli filmlar qilmaslikni tanladi Batman va Robin (1997) uch yildan keyin.[24] Keyinchalik u Tarantinoning filmida rol o'ynagan Kill Bill: 1-jild va 2 (2003, 2004).
A "tozalovchi "Jyul va Vinsentga kim yordam beradi. Tarantino" Volf "qismini maxsus rol o'ynagan Keytel uchun yozgan. Suv omboridagi itlar va uni ishlab chiqarishda muhim rol o'ynadi. Tarantinoning so'zlari bilan aytganda: "Xarvi 16 yoshimdan beri mening sevimli aktyorim edi".[25] Keytel ham xuddi shunday ishchan rol o'ynagan Qaytib kelmaslik nuqtasi (1993).
O'g'ri va Yolandaning sevgilisi. Roth rol o'ynagan Suv omboridagi itlar Keytel bilan birga. U Amerika aksentini ishlatgan edi Suv omboridagi itlar, lekin o'zining tabiiy, London aksentidan foydalanadi Jinoiy asar. Tarantino ushbu qismni Rotni yodda tutgan holda yozgan bo'lsa ham, TriStar boshlig'i Mayk Medavoy afzal Jonni Depp yoki Christian Slater.[26] Rivojlanishning dastlabki davrida Tarantino Rothni Vinsent va rolini ijro etishni o'ylagan edi Gari Oldman Jyul sifatida, "ikki ingliz yigiti" sifatida belgilarni qayta yozish.[27]
Ringoning qiz do'sti va jinoyatda sherigi. Tarantino Plummer uchun Roth bilan ekranda sherik bo'lishi uchun Yolanda rolini yozgan. Rot Tarantinoni unga tanishtirgan edi: "Men Amanda bilan sizning filmlaringizdan birida ishlashni xohlayman, lekin u haqiqatan ham katta qurolga ega bo'lishi kerak".[28]
Butchning qiz do'sti. Tarantino portugaliyalik aktrisa de Medeyros bilan birga sayohat paytida tanishgan Suv omboridagi itlar Evropa kinofestivali davri atrofida.[29] De Medeyros bundan oldin 1990-yilgi filmda boshqa aktyor Uma Turman bilan ishlagan Genri va iyun.
Jyul va Vinsentning jinoyatchisi va ish beruvchisi. Rhames kastingdan oldin dastlab Uollesning qismi taklif qilingan Maks Julien va keyin Sid Xeyg, lekin ikkalasi ham rolni rad etishdi.[30] [31] Benderning so'zlariga ko'ra, Rhames "men ko'rgan eng yaxshi tinglovlardan birini" o'tkazgan.[23] Uning taniqli ijrosi unga katta byudjet xususiyatlariga ega bo'lishiga olib keldi Missiya imkonsiz (1996), Con Air (1997) va Ko'zdan tashqarida (1998).[32]
Vinsentning narkotik sotuvchisi.[33] Gari Oldman TriStar menejerlari orasida Drexl Spivey giyohvand moddalar bilan shug'ullanadigan pimpen obraziga asoslanib tanlangan tanlov edi. Haqiqiy romantik (1993).[34][35]
Lensning rafiqasi. Pam Grier rol uchun o'qigan, ammo Tarantino tomoshabinlar Lans unga baqirishni maqbul deb topishiga ishonmagan.[36] Keyinchalik Tarantino Grierni bosh rolga qo'ydi Jeki Braun. Ellen DeJeneres Jody tomonidan o'qilgan.[37] Rozananing akasi Robert (keyinchalik Aleksis) ham filmda paydo bo'lib, Vensan va Jyulni o'qqa tutish va sog'inish uchun vannadan chiqqan, keyin uni o'ldirgan.
A USAF faxriysi Vetnam urushi kim yosh Butchga otasining orzu qilgan oltin soatini etkazib beradi. Ning rang-barang tavsiflari bilan aralashtirilgan Koons monologi paytida Vietnam Kong,[39] u "Winocki" deb nomlangan askarni eslatib o'tadi. Djo Uinokki - 1943 yilgi filmning qahramoni Havo kuchlari rejissor Xovard Xoks, Tarantinoning sevimli rejissyorlaridan biri.[40]
Keksayib qolgan bokschi Marseldan qochib ketmoqda ikki tomonlama uni. Uillis katta yulduz edi, ammo so'nggi filmlarining aksariyati tanqidiy va kassalardan umidsizlikka ega edi. Bilan bog'liq Piter Bart, kamtarona byudjetli filmda ishtirok etish "maoshini pasaytirish va yulduz maqomini xavf ostiga qo'yishni anglatardi, ammo strategiya ... shohlik bilan to'landi: Jinoiy asar Uillisga nafaqat aktyor sifatida yangi hurmat-ehtirom keltirdi, balki unga bir necha million dollar ishladi ".[41] Uillisning tashqi ko'rinishi va jismoniy ishtiroki Tarantino uchun juda muhim edi: "Bryus 50-yillarning aktyoriga o'xshaydi. Men bunday ko'rinishga ega boshqa yulduz haqida o'ylay olmayman."[42] Chandler Lindauer yosh Butch rolini o'ynaydi.

Qo'shimcha ravishda, Bronagh Gallagher Jodining do'sti Trudi rolini o'ynaydi, u ozgina chekadi, lekin chekadi bong Vensan Miyani tiriltiradigan sahna paytida. Muallif Jeyson Beylining so'zlariga ko'ra, "Kventin tasodifan u erda bo'lgan tasodifiy kuzatuvchini jalb qilish kulgili bo'ladi deb o'ylagan. Bularning barchasi tajribadan kelib chiqqan, siz giyohvand moddalar sotib olish uchun birovning uyiga borganingizda, doim odamlar bor faqat u erda kim bor ".[43] Fil LaMarr Jyul va Vinsentning sherigi Marvinni tasvirlaydi. LaMarr bir necha oy oldin ikkalasi improvizatsiya guruhi uchun namoyish o'tkazgandan so'ng, Tarantino uchun tanlovdan o'tgan.[44] U Marvin rolini ijro etishdan oldin Jyul Uinfild va Bret rollarini o'qigan.[44] Tarantinoning o'zi Jyulning do'sti Jimmi bo'lib ko'rinadi, uning uyida ular qotillikni tozalaydilar. Tarantino Jimmini yoki Lensni o'ynash-qilmasligidan amin emas edi, chunki Mia dozasini oshirib yuborish paytida kamera orqasida o'tirishni xohlaganidek Jimmini tanladi.[35]

Frenk Uoli Marsel tomonidan so'ralgan portfelga ega Jyul va Vinsentning sherigi Bretni tasvirlaydi. Vali Tarantino bilan filmni suratga olish jarayonida tanishgan Suv omboridagi itlar laboratoriyada Sundance instituti. U shunday deb eslaydi: "biz uchrashdik va birga vaqt o'tkazdik, va u menga yoqdi, shuning uchun u menga ushbu filmda bo'lishimni so'raganda men juda xursand bo'ldim".[45] Burr boshqaradi Bretning Jyul tomonidan "Dagalar suruvi" laqabli do'sti Rojer sifatida paydo bo'ladi. Bret va Jyul o'rtasidagi to'qnashuv sahnasi Sters xato qilganligi sababli bir necha bor o'tdi. Stsers intervyuda o'q ovozi balandligi tufayli o'zini tutish qiyin bo'lganini esladi.[46]

Angela Jons Butchning qochishiga yordam beradigan taksi haydovchisi Esmeralda Villalobosni tasvirlaydi. Uning aktyorlik aktyorligi va xarakteri 1991 yilgi qisqa metrajli filmdagi ijroidan ilhomlangan Jingalak, keyinchalik a 1996 yil badiiy film Tarantinoning moliyasi bilan va yana Jons rolida.[47] Dueyn Uitaker, Piter Grin, va Stiven Xibbert mos ravishda Maynard, Zed va gimpni o'ynaydilar.[48] Ga binoan The Daily Beast, bu "uchta psixologik tepaliklar "Meynardning do'konidagi podvaldagi Butchni qiynoqqa solgani filmga havola Yetkazib berish.[47] Stiv Buschemi qiladi kameo ko'rinishi Jek Rabbit Slimnikida ofitsiant sifatida kiyingan Buddi Xolli. Ichida paydo bo'lgan Buscemi Suv omboridagi itlar, dastlab Jimmi roli uchun ko'rib chiqilgan, ammo bajara olmagan.[47] Keti Griffin o'zi kabi ko'rinadi.[49]

Ishlab chiqarish

Yozish

Rojer Avari nima bo'lishining birinchi elementini yozgan Jinoiy asar 1990 yil kuzida ssenariy:

Tarantino va Avari a yozishga qaror qilishdi qisqa, xususiyati qilish osonroq bo'ladi nazariyasi bo'yicha. Ammo ular tezda hech kim qisqa shim ishlab chiqarmasligini angladilar, shuning uchun film trilogiyaga aylandi, uning bir qismi Tarantinoning, biri Avarining va uchinchisi hech qachon amalga oshmagan rejissyorning qismidir. Oxir oqibat har biri o'z bo'limini uzun metrajli ssenariyga aylantirdi.[50]

Dastlabki ilhom uch qismli dahshat edi antologiya filmi Qora shanba (1963), italiyalik kinorejissyor tomonidan Mario Bava. Tarantino-Avary loyihasi vaqtincha nomlangan "Qora niqob ", yarim finaldan keyin qattiq qaynatilgan badiiy jurnal.[29] Tarantinoning ssenariysi shunday ishlab chiqarilgan Suv omboridagi itlar, uning rejissyorlik debyuti; Avary's "Pandemonium Reigns" deb nomlanib, "Oltin soat" hikoyasi uchun asos yaratdi. Jinoiy asar.[51]

Ish bilan Suv omboridagi itlar Tarantino trilogiya filmi tushunchasiga qaytdi: "Menda roman yozuvchilariga imkoniyat yaratadigan ishni qilish g'oyasi paydo bo'ldi, ammo rejissyorlar buni qila olmaydilar: uchta alohida hikoyani aytib berish, belgilar turli xil og'irliklarda suzib yurishgan. hikoya. "[52] Tarantino, "bu g'oya asosan jinoyatchilik haqida gap ketganda ko'rgan eng qadimgi kashtanlarni - kitobdagi eng qadimgi hikoyalarni qabul qilish edi", deb tushuntiradi ... Bilasizmi, "Vinsent Vega va Marsellus Uollesning rafiqasi" - eng qadimgi ... haqida hikoya ... yigit katta odamning rafiqasi bilan chiqib, unga tegmaslik kerak. Bilasizmi, siz bu voqeani zillion marta ko'rgansiz. "[10] "Men hikoya qilishning eski shakllaridan foydalanayapman, so'ngra ularni adashtiraman", deydi u. "Hiyla-nayrangning bir qismi bu film qahramonlarini, ushbu janrdagi obrazlarni va ushbu janrdagi vaziyatlarni olib, aslida ularni hayotdagi ba'zi qoidalarga tatbiq etish va ularning qanday ochilishini ko'rishdir."[53] Hech bo'lmaganda bitta holatda, bokschi Butch Kulij, Tarantino Gollivudning klassik jinoyatchilik hikoyasidagi o'ziga xos belgini yodda tutgan edi: "Men uni asosan o'xshash bo'lishini xohlardim Ralf Meeker kabi Mayk Xammer yilda Aldrich "s Meni o'lik holda o'p [1955]. Men uning bezori va jirkanch bo'lishini xohlardim ".[42]

Tarantino ssenariy ustida ishlashga ketdi Jinoiy asar 1992 yil mart oyida Amsterdamda,[54] ehtimol Winston mehmonxonasida Red Light District.[55] U erda Avary ham ishtirok etdi, u "Pandemonium Reigns" ni loyihaga qo'shdi va uni qayta yozishda hamda u bilan bog'laydigan yangi hikoyalarni ishlab chiqishda qatnashdi.[51] Dastlab Avari tomonidan yozilgan ikkita sahna Haqiqiy romantik faqat Tarantinoning ssenariysi ssenariysi "Bonni Vaziyati" ning ochilish qismiga kiritilgan: yashirin qurollangan odam tomonidan "mo''jizaviy" o'tkazib yuborilgan kadrlar va orqa o'rindiqdagi avtoulovni o'ldirish.[56] Epizodning qalbiga aylangan crimeworld "tozalovchi" tushunchasi qisqa, Jingalak, Tarantino film festivalida ko'rgan. U bosh rolni ijro etdi, Angela Jons, yilda Jinoiy asar va keyinchalik film ijodkorlarining uzun metrajli versiyasini ishlab chiqarishni qo'llab-quvvatladi Jingalak.[57] Ssenariyda keyinchalik Tarantino filmlarida tez-tez namoyish etiladigan bir nechta tijorat brendlari mavjud edi: Katta Kahuna burgerlari (Katta Kahuna soda kosasi paydo bo'ladi Suv omboridagi itlar) va Red Apple sigaretalari.[58] U ssenariy ustida ishlayotganda Tarantino ham hamrohlik qildi Suv omboridagi itlar Evropa kinofestivali atrofida. 1992 yil oktyabr oyida Qo'shma Shtatlarda chiqarilgan ushbu rasm juda muhim va tijorat muvaffaqiyatiga aylandi. 1993 yil yanvar oyida Jinoiy asar ssenariy tugallandi.[59]

Moliyalashtirish

Tarantino va uning prodyuseri, Lourens Bender, ssenariyni Jersi filmiga olib keldi. Hatto ko'rishdan oldin Suv omboridagi itlar, Jersi Tarantinoni keyingi loyihasi uchun imzolashga urinib ko'rgan edi.[60] Oxir oqibat, taxminan 1 million dollarlik rivojlanish shartnomasi tuzildi: bitim berdi Band guruhi, Bender va Tarantinoning yangi tashkil etilgan ishlab chiqarish kompaniyasi, dastlabki moliyalashtirish va ofis binolari; Jersi loyihadan ulush oldi va stsenariyni studiyaga xarid qilish huquqini oldi.[61] Jersi tarqatish va "birinchi qarash" bilan kelishuvga ega edi Kolumbiya TriStar, bu Tarantinoga o'z imkoniyatidan foydalanishni ko'rib chiqish huquqi uchun pul to'lagan.[62] Fevral oyida, Jinoiy asar paydo bo'ldi Turli xillik filmlar ro'yxati oldindan ishlab chiqarish da TriStar.[63] Ammo iyun oyida studiya stsenariyni qo'ydi ortga burilmoq.[62] Studiya rahbarining so'zlariga ko'ra, TriStar boshlig'i Mayk Medavoy buni "juda aqldan ozgan" deb topdi.[64] TriStar geroin foydalanuvchisi ishtirokidagi filmni qo'llab-quvvatlashga chidamli degan takliflar mavjud edi; shuningdek, studiya loyihani yulduzlar tomonidan boshqariladigan kerakli tasvir uchun juda kam byudjet deb hisoblaganiga dalillar mavjud edi.[65] Avari - o'zining rejissyorlik debyutini suratga olishni boshlamoqchi bo'lgan, Zooni o'ldirish - TriStar e'tirozlari ssenariyning asosiy tuzilishini o'z ichiga olgan keng qamrovli edi, dedi. U studiyaning pozitsiyasini quyidagicha tavsiflaydi: "'Bu hech qachon yozilmagan eng yomon narsa. Bu hech qanday ma'noga ega emas, kimdir o'lgan, keyin ular tirik. Bu juda uzun, zo'ravon va tasvirlanmaydigan". ... Shunday qilib, men shunday deb o'yladim: "Mana shu!'"[66]

Bender skriptni olib keldi Miramax, yaqinda sotib olingan ilgari mustaqil studiya Disney. Harvi Vaynshteyn - Miramaxning hamraisi, uning akasi bilan birga Bob - ssenariydan bir zumda hayratga tushdi va kompaniya uni ko'tarib chiqdi.[67] Jinoiy asar, a olish uchun birinchi Miramax loyihasi yashil chiroq Disney sotib olingandan so'ng, 8,5 million dollarga byudjet qilingan.[3] Bu Miramax to'liq moliyalashtirgan birinchi film bo'ldi.[68] Xarajatlarni pasaytirishga yordam berish Bender tomonidan barcha asosiy aktyorlarga ularning sanoat mavqeidan qat'i nazar, haftasiga bir xil miqdorda to'lash uchun amalga oshirilgan reja edi.[69] Loyihaga imzo chekkan eng katta yulduz edi Bryus Uillis. Yaqinda u bir nechta yirik byudjetli floplarda ishtirok etgan bo'lsa-da, u hali ham chet elda katta yutuq edi. O'z nomining kuchi bilan Miramax filmning butun dunyo bo'ylab huquqlari uchun 11 million dollar yig'di va deyarli uning rentabelligini ta'minladi.[70]

Suratga olish

Uillis, xususan, Tarantino uchun 1950-yillarning bir aktyorini uyg'otdi: "Aldo Rey yilda Jak Turne "s Tungi tush [1956] ... Keling, shu ko'rinishga boraylik, dedim. "[71] Uning tomonidan ishlab chiqarilgan boks kiyimi Betsi Heimann, Tarantinoning ramziy zirh sifatida kostyum tushunchasini misol qilib keltiradi.[72]

Asosiy fotosurat 1993 yil 20 sentyabrda boshlangan.[73] Tarantino bilan etakchi ekrandagi iste'dodlarning barchasi ishlagan Suv omboridagi itlar — operator Andjey Sekula, film muharriri Salli Menke, ishlab chiqarish bo'yicha dizayner Devid Vasko va kostyumlar bo'yicha dizayner Betsi Heimann. Tarantinoning so'zlariga ko'ra, "[W] ning qiymati 8 million dollarga teng edi. Men uni 20-25 million dollarlik filmga o'xshatishni xohlar edim. Men uni eposga o'xshatishni xohlardim. Bu epos hamma narsada - ixtiroda, ambitsiyada, uzunlikda, ko'lamda, narx yorlig'idan tashqari hamma narsada. "[74] Uning aytishicha, film "suratga olingan" 50 ASA film zaxirasi, bu ular yaratadigan eng sekin zaxira. Bizning foydalanishimiz sababi shundaki, u deyarli yaratadi donsiz tasvir, bu jilvali. Bu biz 50 yoshga yaqin bo'lgan narsadir Texnik rang."[75] Byudjetning eng katta qismi - 150 ming dollar - Jek Rabbit Slim to'plamini yaratishga sarflandi.[76] U a da qurilgan Kulver Siti omborga, u erda yana bir nechta to'plamlar, shuningdek filmni ishlab chiqarish ofislari qo'shilgan.[77] Ovqatlanish ketma-ketligi joylashgan joyda otib tashlandi Hawthorne uning uchun mashhur bo'lgan Hawthorne Grill-da Googie arxitekturasi.[78] Kostyumlar uchun Tarantino frantsuz rejissyoridan ilhom oldi Jan-Per Melvil, uning belgilaridagi kiyimlar ularning ramziy zirhli kiyimlari ekanligiga ishongan.[72] Tarantino o'zini o'zi bo'lgani kabi mo''tadil o'lchamdagi rolga tashladi Suv omboridagi itlar. Uning pop-totemlaridan biri, Meva Brute, uzoq vaqtdan beri to'xtatilgan General Mills don, shuningdek, avvalgi filmdan qaytib keldi.[79] Otishma 30 noyabr kuni o'ralgan.[80] Oldin Jinoiy asar'premerasi, Tarantino Avarini o'zining kelishilgan kritrit kreditidan mahrum qilishga va "hikoyani" kreditini qabul qilishga ishontirdi, shuning uchun "Yozuvchi va rejissyor Kventin Tarantino" satridan reklama va ekranda foydalanish mumkin edi.[22]

Musiqa

Asosiy maqola: Pulp fantastika (soundtrack)

Yo'q film ballari uchun tuzilgan edi Jinoiy asar; Kventin Tarantino buning o'rniga eklektik assortimentdan foydalangan bemaqsad musiqasi, rok-roll, jon va pop qo'shiqlar. Dik Deyl "ning ijro etilishiMisirlou "Tarantino filmning asosiy musiqiy uslubi sifatida bemaqsad musiqasini tanladi, ammo u bemaqsad madaniyati bilan bog'liqligi sababli:" Men uchun bu shunchaki rok-rolga o'xshaydi, hatto Morrikone musiqa. Bu tosh va rulonga o'xshaydi spagetti Western musiqa. "[81] Ba'zi qo'shiqlarni Tarantinoga uning do'stlari Chak Kelley va Laura Lovelas taklif qilishgan, ular musiqa maslahatchisi sifatida tan olingan. Lovelace filmda ofitsiant Laura rolida ham paydo bo'ldi; u rolni takrorlaydi Jeki Braun.[82] The soundtrack albomi 1994 yilda film bilan birga chiqdi. Albom eng yuqori darajaga ko'tarildi Billboard 200 21-raqamli jadval.[83] Bitta, Overkill-ga murojaat qiling ning qopqog'i Nil Diamond Qo'shiq "Qiz, siz tez orada ayol bo'lasiz "59 raqamiga yetdi.[84]

Estella Tincknell taniqli va tushunarsiz yozuvlarning o'ziga xos kombinatsiyasi filmni "o'z-o'zini anglaydigan" salqin "matn sifatida yaratishda qanday yordam berishini tasvirlaydi. [1960-yillarning boshlarida mono-kuzatilgan, og'ir uslubdan foydalanish" AQSh "er osti") kabi "klassik" balladalar bilan aralashtirilgan pop Dusty Springfild buVa'zgo'yning o'g'li "filmning postmodern bilimi uchun juda muhimdir." U soundtrackni shu bilan taqqoslaydi Forrest gamp, 1994 yildagi eng ko'p daromad keltirgan film, shuningdek, davriy pop yozuvlariga tayanadi: "[T] u taklif qilgan" oltmishinchi yillar "versiyasi Jinoiy asar ..., albatta, tan olingan qarshi madaniyatning taniqli emas Forrest gamp"Bu qat'iyan siyosiy emas, bemaqsad qilish," osib qo'yish "- hayot tarzi atrofida asoslangan sub-madaniyatning chinakam margin shakli". "Film saundtrek," deydi u, filmning "yoshroq, kinematik jihatdan" bilimdon tomoshabin "so'raydi.[85]

Qabul qilish

Chiqarish va kassa

Jinoiy asar premyerasi 1994 yil may oyida Kann kinofestivali. Vaynshteynlar "komendos singari sohilga urishdi" va rasmning barcha aktyorlarini olib kelishdi.[86] Film yarim tunda namoyish etilganida namoyish qilingan va shov-shuvga sabab bo'lgan.[87][88] Bu g'alaba qozondi Palma d'Or, festivalning eng yuqori mukofoti bo'lib, u yanada ommalashib boradi.[89]

AQShda filmning birinchi sharhi 23 may kuni sanoat savdo jurnalida chop etildi Turli xillik. Todd Makkarti qo'ng'iroq qildi Jinoiy asar "pop-madaniyatning ajoyib ko'ngilochar qismi ... hayratlanarli va ulkan muvaffaqiyat".[90] Kann oldidan Tarantino filmni targ'ib qilishda doimiy ravishda yo'lda edi.[91] Keyingi bir necha oy ichida u Evropadagi kichik festivallarda o'ynadi va shov-shuvga aylandi: Nottingem, Myunxen, Taormina, Locarno, Norvegiya va San-Sebastyan.[92] Keyinchalik Tarantino shunday degan edi: "Eng zo'r narsa shundaki, chiziqli tuzilmani buzish bilan, men tomoshabinlar bilan filmni tomosha qilsam, u [tomoshabinlarnikini] buzadi alfa davlat. Xuddi shunday, birdaniga: "Men buni ko'rishim kerak ... e'tibor berishim kerak". Hammaning o'z o'rnida harakatlanishini deyarli sezish mumkin. Tomoshabinni qaysidir ma'noda film ortidan quvishlarini tomosha qilish aslida qiziqarli ".[93] Sentyabr oyi oxirida u ochildi Nyu-York kinofestivali. The New York Times ochilish kuni o'z sharhini e'lon qildi. Janet Maslin filmni "janob Tarantinoning pishiq xayolidan kelib chiqadigan, xavfli, shok, kulgili va jo'shqin mahalliy rang manzarasidan kelib chiqadigan demimond orqali zafarli, aql bilan yo'naltiruvchi sayohat" deb atadi ... [U] shunday chuqur asar yaratdi. , uni amerikalik kinorejissyorlar safida birinchi o'rinda turadigan aql va yorqinlik o'ziga xosligi. "[88]

1994 yil 14 oktyabrda, Jinoiy asar Qo'shma Shtatlarda umumiy chiqishga kirishdi. Piter Biskind ta'riflaganidek: "Bu maydonchada emas edi, ya'ni u bir nechta teatrda ochilmadi va og'zaki so'zlar singari asta-sekin tarqaldi. indi film; u darhol keng tarqalib, 1100 teatrga aylandi ".[94] Ba'zi madaniy tanqidchilar nazarida, Suv omboridagi itlar Tarantinoga zo'ravonlikni jozibador qilish uchun obro'-e'tibor bergan edi. "Miramax" marketing kampaniyasida ushbu masala bilan o'ynadi: "Siz fantastika ko'rmaguningizcha faktlarni bilib bo'lmaydi", bitta shior bilan chiqdi.[95] Jinoiy asar birinchi hafta oxirida kassadagi eng ko'p daromad keltiradigan film bo'ldi Silvestr Stallone transport vositasi, Mutaxassis Ikkinchi haftada bo'lgan va ikki baravar ko'p teatrlarda o'ynagan. Uning byudjetiga qarshi 8,5 million dollar va marketing xarajatlarining taxminan 10 million dollari, Jinoiy asar AQSh kassalarida 107,93 million dollar ishlab topdi va bu 100 million dollardan oshgan birinchi "hind" filmiga aylandi. Dunyo bo'ylab bu deyarli 213 million dollarni tashkil etdi.[96] Mahalliy daromadlar nuqtai nazaridan, u eng yaxshi 20 filmdagi boshqa filmlarga qaraganda ancha kam ekranlarda o'ynagan bo'lsa ham, 1994 yildagi o'ninchi eng katta film edi.[97] Qimmatbaho portfelning mazmuni haqida spekulyatsiya kabi film bilan mashhur ishtirok etish "bu diniy maqomning turidan dalolat beradi Jinoiy asar deyarli darhol erishdi ".[98] Sifatida MovieMaker uni "film milliy madaniy hodisadan kam bo'lmagan" deb qo'yadi.[99] Chet elda ham: AQShda namoyish etilganidan bir hafta o'tib ochilgan Britaniyada film nafaqat katta hit bo'ldi, balki kitob shaklida uning ssenariysi Buyuk Britaniyaning nashriyot tarixidagi eng muvaffaqiyatli, eng ko'p sotilgan o'nlikka aylandi.[100]

Tanqidiy javob

Yoqilgan ko'rib chiquvchi agregator Rotten Tomatoes, film 106 ta sharh asosida 92% ma'qullash reytingiga ega, o'rtacha reyting 9,15 / 10 ga teng. Veb-saytning tanqidiy konsensusida "1990-yillarning eng ta'sirli filmlaridan biri, Jinoiy asar zamonaviy-zamonaviy hayajonlar, qora-qora kulgili va pop-madaniyatga oid toshlarning zamonaviy zamonaviy post-modern aralashmasi. "[101] Yoqilgan Metakritik, filmda a o'rtacha hisoblangan ball 100 tanadan 94 nafari, 24 tanqidchiga asoslanib, "olqish olqishini" ko'rsatmoqda.[102] So'ralgan tomoshabinlar CinemaScore filmga A + dan F gacha bo'lgan o'rtacha "B +" bahosini berdi.[103]

Amerikalik yirik kino sharhlovchilarning javoblari keng ma'qul bo'ldi. Rojer Ebert ning Chikago Sun-Times buni "juda yaxshi yozilgan, fanzine unda burunlarni silamoqchi bo'lgan usul - zombi mualliflarining burunlari, "ssenariylar" mashg'ulotlarida qatnashadigan, "hit filmlar" ning formulalarini o'rgatadi'".[104] Richard Korliss ning TIME "Yilning boshqa filmlari ustidan maktabgacha ta'lim muassasasidagi to'dalar lordiga o'xshab dahshatli va tahlikali minoralar qurilgan. Gollivud filmlari shu qadar uzoqqa borishda jasoratli bo'lishga jur'at etadi. Agar yaxshi rejissyorlar Tarantinoning yopiq chaqirig'ini qabul qilsalar, kinoteatr yana yashash uchun ajoyib joy. "[105] Yilda Newsweek, Devid Ansen yozgan edi: «Kventin Tarantinoning mo''jizasi Jinoiy asar Ikkinchi, buzilgan qismlardan tashkil topganligi sababli, u yangi narsa singari porlashi mumkin. "[106] "Siz bunga mast bo'lasiz", deb yozgan edi Ko'ngilochar haftalik's Ouen Gleyberman, "Kino qanchalik yoqimli bo'lishi mumkinligini qayta kashf etish darajasida. Men tarantino qilganidek intizom va nazoratni ashaddiy eshak quvonch bilan birlashtirgan kinorejissyorga duch kelganimga amin emasman."[19] "Bu hayajonli tirik narsani tomosha qilishdan kelib chiqadigan maxsus zarba bor", deb yozgan Piter Travers ning Rolling Stone. "Jinoiy asar shubhasiz ajoyibdir. "[107]

The Los Anjeles Tayms filmning ochilish haftasi oxirida salbiy sharh nashr etgan bir nechta yirik yangiliklardan biri edi. Kennet Turan "Yozuvchi-rejissyor o'z effektlarini kuchaytirayotganga o'xshaydi. Ba'zi ketma-ketliklar, xususan, qullik jabduqlari va gomoseksual zo'rlash bilan bog'liq bo'lganlar, o'zlarining obro'sini yo'qotishdan qo'rqadigan, hissiyotlarni xafa qilish uchun qo'rqadigan kishidan noqulay ijodiy umidsizlik hissi paydo bo'ladi. . "[108] Keyingi haftalarda uni ko'rib chiqqanlarning ba'zilari, aksariyat hollarda tanqidiy reaktsiyani istisno qildilar Jinoiy asar o'zi. Filmni suratga olmasdan turib, Stenli Kauffmann ning Yangi respublika "jirkanch tomonga [juda] qo'zg'atilgan va cho'kib ketgan yo'l" deb o'ylardi. Jinoiy asar oziq-ovqat, yaxshi narsalar, madaniy sustlik. "[109] Tarantino filmi va asarlari o'rtasidagi taqqoslashlarga javob berish Frantsuz yangi to'lqinlari direktor Jan-Lyuk Godar, ayniqsa uning birinchi, eng mashhur xususiyati, Jonathan Rozenbaum ning Chikago o'quvchisi yozgan, "haqiqat Jinoiy asar ga qaraganda ko'proq g'ayrioddiy qarg'alarni yig'moqda Nafas hech qachon sizga qaysi madaniy ma'lumotnomalar yanada samaraliroq ekanligi, ya'ni bizda mavjud bo'lgan va kengayishni istamaydigan ma'lumotlar haqida ko'p narsalarni aytib beradi. "[110] Kuzatish Milliy sharh "[n] o film ko'proq shov-shuv bilan keladi", Jon Simon chayqalmagan edi: "titrilatsiya bo'shliqni ham, sayozlikni ham davolamaydi".[111]

Film haqidagi munozaralar sharh sahifalaridan tashqarida tarqaldi. Zo'ravonlik ko'pincha mavzu edi. Yilda Washington Post, Donna Britt qanday qilib ko'rmaganidan xursand bo'lganligini tasvirlab berdi Jinoiy asar yaqinda dam olish kunlari va shu tariqa "avtomashinaning ichki qismi atrofida kimningdir miyasiga purkashlar bo'lgan sahnani muhokama qilishdan" saqlaning.[112] Ba'zi sharhlovchilar filmda "so'zini tez-tez ishlatilishini istisno qilishdizanjir "(18 marta eslatilgan). yilda Chicago Tribune, Todd Boyd so'zning takrorlanishi "tarixiy ravishda qora tanli erkaklar haqidagi tushunchalarni salqinlik timsoli sifatida ishlatgan oq tanli erkaklar uchun eng yuqori darajani bildirish qobiliyatiga ega" deb ta'kidladi.[113] Britaniyada, Jeyms Vud, yozish Guardian, keyingi tanqidlar uchun ohangni o'rnating: "Tarantino so'nggi g'alabani anglatadi postmodernizm, bu barcha mazmunli badiiy asarlarni bo'shatish, shu bilan bizning azob-uqubatlarimizni ifodalashdan boshqa hech narsa qila olish qobiliyatidan qochishdir ... Faqat shu asrda Tarantino singari iste'dodli yozuvchi shunchalik bo'sh, shu bilan har qanday siyosatdan, metafizikadan butunlay mahrum bo'lgan asarlarni yaratishi mumkin edi. yoki axloqiy qiziqish. "[114]

Taqdirlash mavsumi

Yilning atrofida, Jinoiy asar tomonidan eng yaxshi film deb topildi Milliy kinoshunoslar jamiyati, Milliy tekshiruv kengashi, Los-Anjeles kino tanqidchilari assotsiatsiyasi, Boston kinoshunoslar jamiyati, Texas film tanqidchilari jamiyati, Janubi-sharqiy kinoshunoslar assotsiatsiyasi va Kanzas-Siti kinoshunoslari to'garagi.[115] Tarantino ushbu ettita tashkilot tomonidan va shuningdek, eng yaxshi direktor deb topildi Nyu-York kinoshunoslari to'garagi va Chikago kino tanqidchilari assotsiatsiyasi.[116] Ssenariy bir nechta sovrinlarni qo'lga kiritdi, turli mukofotlash tashkilotlari kreditni boshqacha belgilaydilar. Da 52-Oltin globus mukofotlari, "Eng yaxshi ssenariy" sharafining yagona oluvchisi deb nomlangan Tarantino, qabul nutqida Avarini eslay olmadi.[117] 1995 yil fevral oyida film "Oskar" ning etti nominatsiyasini oldi - eng yaxshi film, rejissyor, aktyor (Travolta), yordamchi aktyor (Jekson), yordamchi aktrisa (Turman), asl ssenariy va filmni tahrirlash. Travolta, Jekson va Turman har biri ushbu nominatsiya uchun ham nomzod bo'lgan 1-aktyorlar gildiyasi mukofotlari, 25-fevral kuni taqdim etildi, ammo hech kim sharafni uyiga olmadi.[118] Keyingi oy Oskar mukofotlarini topshirish marosimida Tarantino va Avari g'oliblarning qo'shma g'oliblari deb e'lon qilindi "Eng yaxshi original ssenariy" uchun Oskar mukofoti.[119] Film atrofidagi g'azab hali ham davom etmoqda: mart oyining katta qismi Artforum uning tanqidiy diseksiyasiga bag'ishlangan edi.[120] Jinoiy asar to'rt mukofotga sazovor bo'ldi Mustaqil ruh mukofotlari, oy oxirida bo'lib o'tgan - Eng yaxshi xususiyat, Eng yaxshi rejissyor, Erkak qo'rg'oshin (Jekson) va Eng yaxshi ssenariy (Tarantino).[121] Da British Academy Film mukofotlari (BAFTA), Tarantino va Avary baham ko'rishdi BAFTA mukofoti eng yaxshi asl ssenariy uchun, va Jekson g'alaba qozondi Eng yaxshi ikkinchi darajali aktyor.[122] Film nomzodi Gran-pri ning Belgiya kino tanqidchilari assotsiatsiyasi.[123]

2020 yil fevraldagi son Nyu-York jurnali ro'yxatlar Jinoiy asar yonma-yon Fuqaro Keyn, Quyosh botishi bulvari, Doktor Strangelove, Butch Cassidy and Sundance Kid, Suhbat, Neshvill, Taksi haydovchisi, Fil odam, Yotoq xonasida, Qon bo'ladi va "Roma" kabi ""Oskar" da eng yaxshi filmni yo'qotgan eng yaxshi filmlar. "[124]

Ta'sir

Jinoiy asar tezda o'z davrining eng muhim filmlaridan biri sifatida qabul qilindi. 1995 yilda, ning maxsus nashrida Siskel va Ebert Tarantinoga bag'ishlangan, Gen Siskel bu asar "Amerika filmlarini shafqatsiz formulalari bilan ossifikatsiya qilish" ga katta qiyinchilik tug'dirganini ta'kidladi. Siskelning fikriga ko'ra,

ning zo'ravonlik intensivligi Jinoiy asar o'z vaqtida klassik deb hisoblangan va hali ham mavjud bo'lgan boshqa zo'ravon suv havzalari filmlarini esga soladi. Hitchcock "s Psixologiya [1960], Artur Penn "s Bonni va Klayd [1967] va Stenli Kubrik "s Clockwork apelsin [1971]. Har bir film charchagan, shishgan kino sanoatini larzaga keltirdi va boshqa filmlarning qanday qilib zerikarli bo'lib qolganini aks ettirish uchun jonli tushirilganlar dunyosidan foydalandi. Va bu, men taxmin qilamanki, bu eng katta sharaf bo'ladi Jinoiy asar. Barcha ajoyib filmlar singari, boshqa filmlarni ham tanqid qiladi.[125]

Ken Dansigerning yozishicha, uning "taqlid qiluvchi va innovatsion uslubi" xuddi avvalgisiga o'xshab, Suv omboridagi itlar - ifodalaydi

yangi hodisa, uning uslubi haqiqiy hayotdan ko'ra, kino hayoti kontekstidan yaratilgan film. Buning natijasi ikki xil - tinglovchilar tomonidan chuqur bilim prezumptsiyasi kabi shakllar gangster filmlari yoki g'arbliklar, dahshatli filmlar yoki sarguzasht filmlar. Va ushbu filmning parodiyasi yoki o'zgartirilishi tomoshabinlar uchun yangi shakl, boshqacha tajriba yaratadi.[126]

Jon Travolta, Uma Turman va Kventin Tarantino da 2014 yil Kann kinofestivali, filmning 20 yillik yubileyi uchun.

1995 yil 31 mayda keng qamrab olingan nutqida Respublikachilar partiyasidan prezidentlikka nomzod Bob Dole "buzuqlik kabuslari" ni sotgani uchun Amerika ko'ngilochar sanoatiga hujum qildi. Jinoiy asar tez orada uning beg'ubor zo'ravonlik ayblovlari bilan bog'liq edi. Dole film haqida gapirmagan edi; u Tarantino ssenariylari asosida kam tanilgan ikkita filmni keltirdi, Tabiiy tug'ilgan qotillar va Haqiqiy romantik.[127] 1996 yil sentyabr oyida Dole aybladi Jinoiy asar – which he had not seen – of promoting "the romance of heroin".[128]

Paula Rabinowitz expresses the general film industry opinion that Jinoiy asar "simultaneously resurrected John Travolta and film noir".[129] In Peter Biskind's description, it created a "guys-with-guns frenzy".[130] The film has also been labeled as a qora komediya[4] va "neo-noir ".[131] Tanqidchi Jefri O'Brayen, however, argued against the classification of Jinoiy asar into the neo-noir genre: "The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir."[132] Xuddi shunday, Nikolas Kristofer calls it "more gangland lager than neo-noir",[133] va Foster Xirsh suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label.[134] Regardless, the stylistic influence of Jinoiy asar soon became apparent. Less than a year after the picture's release, British critic Jon Ronson attended the Milliy kino maktabi 's end-of-semester screenings and assessed the impact: "Out of the five student movies I watched, four incorporated violent shoot-outs over a soundtrack of iconoclastic 70s pop hits, two climaxed with all the main characters shooting each other at once, and one had two hitmen discussing the idiosyncrasies of Brady guruhi before offing their victim. Not since Fuqaro Keyn has one man appeared from relative obscurity to redefine the art of moviemaking."[135] Among the first Hollywood films cited as its imitators were Taqdir radiosini ochadi (1995), in which Tarantino acted,[125] O'lganingizda Denverda qilinadigan ishlar (1995),[136] va Vodiyda 2 kun (1996).[137] It "triggered a myriad of clones", writes Fiona Villella.[138] Internationally, according to Devid Desser, it "not only influenced a British brand of noir, but extended the noir vision virtually around the world".[139] Jinoiy asar's effect on film form was still reverberating in 2007, when Devid Denbi ning Nyu-Yorker credited it with initiating the ongoing cycle of disordered cinematic narratives.[140]

Its impact on Hollywood was deeper still. Ga binoan Turli xillik, the trajectory of Jinoiy asar from Cannes launch to commercial smash "forever altered the game" of so-called mustaqil kino.[141] It "cemented Miramax's place as the reigning indie superpower",[94] writes Biskind. "Pulpa ga aylandi Yulduzlar jangi of independents, exploding expectations for what an indie film could do at the box office."[142] The film's large financial return on its small budget

transform[ed] the industry's attitude toward the lowly indies ... spawning a flock of me-too classics divisions ... [S]mart studio executives suddenly woke up to the fact that grosses and market share, which got all the press, were not the same as profits ... Once the studios realized that they could exploit the economies of (small) scale, they more or less gave up buying or remaking the films themselves, and either bought the distributors, as Disney had Miramax, or started their own ... copy[ing] Miramax's marketing and distribution strategies.[143]

2001 yilda, Turli xillik, noting the increasing number of actors switching back and forth between expensive studio films and low-budget independent or indie-style projects, suggested that the "watershed moment for movie stars" came with the decision by Willis – one of Hollywood's highest-paid performers – to appear in Jinoiy asar.[144]

And its impact was even broader than that. It has been described as a "major cultural event", an "international phenomenon" that influenced television, music, literature, and advertising.[138][145] Not long after its release, it was identified as a significant focus of attention within the growing community of Internet users.[146] Qo'shilmoqda Jinoiy asar to his roster of Buyuk filmlar in 2001, Roger Ebert called it "the most influential film of the decade".[147] To'rt yildan so'ng, Vaqts Corliss wrote much the same: "(unquestionably) the most influential American movie of the 90s".[148]

Several scenes and images from the film achieved iconic status; 2008 yilda, Ko'ngilochar haftalik declared, "You'd be hard-pressed, by now, to name a moment from Quentin Tarantino's film that isn't iconic."[149] Jules and Vincent's "Royale with Cheese" dialogue became famous.[150] It was referenced more than a decade and a half later in the Travolta vehicle Sevgi bilan Parijdan.[151] The adrenalin shot to Mia Wallace's heart is on Premer's list of "100 Greatest Movie Moments".[152] The scene of Travolta and Thurman's characters dancing has been frequently homaged, most unambiguously in the 2005 film Salqin bo'ling, starring the same two actors.[153] The image of Travolta and Jackson's characters standing side by side in suit and tie, pointing their guns, has also become widely familiar. 2007 yilda, BBC yangiliklari reported that "London transport workers have painted over an iconic mural by 'guerrilla artist' Benksi ... The image depicted a scene from Quentin Tarantino's Jinoiy asar, with Samuel L. Jackson and John Travolta clutching bananas instead of guns."[154] Certain lines were adopted popularly as catchphrases, in particular Marsellus's threat, "I'm 'a get medieval on your ass."[155] Jules's "Ezekiel" recitation was voted the fourth greatest movie speech of all time in a 2004 poll. One of the more notable homages to Jules "Biblical" quote was one Jackson himself played a part in, near the end of 2014's Kapitan Amerika: Qishdagi askar, Jackson's character Col. Nick Fury, presumed dead, visits his own gravestone, on which, below Fury's name is inscribed "The path of the righteous man ..." Ezekiel 25:17.[156] In 2019, it was reported that Dominik Kammings, special political adviser ga Buyuk Britaniya bosh vaziri Boris Jonson, quoted Jules by telling Conservative MPs to "be cool like Fonziyalar " as political pressure built to request an extension to the date of the UK's withdrawal from the European Union.[157]

Jinoiy asar now appears in several critical assessments of all-time great films. 2008 yilda, Ko'ngilochar haftalik named it the best film of the past quarter-century.[149] Xuddi shu yili Amerika kino instituti 's "Ten Top Ten" poll ranked it number 7 all-time in the gangster film genre.[158] In 2007, it was voted 94th overall on the AFIning 100 yilligi ... 100 ta film ro'yxat.[159] In 2005, it was named one of ""Time" filmining 100 ta filmi ".[148] As of September 2018, it is number 54 on Metacritic's list of all-time highest scores.[160] The film ranks very highly in popular surveys. 2008 yil Imperiya poll combining the opinions of readers, movie industry professionals, and critics named Jinoiy asar the ninth-best film of all time.[161] In a 2006 readers' poll by the British magazine Jami film, it ranked as the number three film in history.[162] It was voted as the fourth-greatest film of all time in a nationwide poll for Britain's 4-kanal 2001 yilda.[163]

Tanqidiy tahlil

Tarantino has stated that he originally planned "to do a Qora niqob movie", referring to the magazine largely responsible for popularizing qattiq qaynatilgan detektiv fantastika. "[I]t kind of went somewhere else".[164] Geoffrey O'Brien sees the result as connected "rather powerfully to a parallel pulp tradition: the tales of terror and the uncanny practiced by such writers as Kornell Vulrich [va] Fredrik Braun ... Both dealt heavily in the realm of improbable coincidences and cruel cosmic jokes, a realm that Jinoiy asar makes its own."[165] In particular, O'Brien finds a strong affinity between the intricate plot mechanics and twists of Brown's novels and the recursive, interweaving structure of Jinoiy asar.[166] Philip French describes the film's narrative as a "circular movement or Mobius chizig'i of a kind Resnais va Robbe-Grillet would admire".[167] James Mottram regards crime novelist Elmore Leonard, whose influence Tarantino has acknowledged, as the film's primary literary antecedent. He suggests that Leonard's "rich dialogue" is reflected in Tarantino's "popular-culture-strewn jive"; he also points to the acute, extremely dark sense of humor Leonard applies to the realm of violence as a source of inspiration.[168]

Robert Kolker sees the "flourishes, the apparent witty banality of the dialogue, the goofy fracturing of temporality [as] a patina over a pastiche. The pastiche ... is essentially of two films that Tarantino can't seem to get out of his mind: O'rtacha ko'chalar [1973; rejissor Martin Skorseze, who loved Jinoiy asar and the way the film was told.[169]] va Qotillik [1956; rejissor Stenli Kubrik ]."[170] He contrasts Jinoiy asar with postmodern Hollywood predecessors Xadson Xok (1991; starring Willis) and Oxirgi harakat qahramoni (1993; starring Arnold Shvartsenegger ) that "took the joke too far ... simply mocked or suggested that they were smarter than the audience" and flopped.[171] Todd McCarthy writes that the film's "striking widescreen compositions often contain objects in extreme close-up as well as vivid contrasts, sometimes bringing to mind the visual strategies of Serxio Leone ", an acknowledged hero of Tarantino's.[90] To Martin Rubin, the "expansive, brightly colored widescreen visuals" evoke comedy directors such as Frank Tashlin va Bleyk Edvards.[172]

The movie's host of ommaviy madaniyat allusions, ranging from the famous image of Merilin Monro 's skirt flying up over a subway grating to Jules addressing a soon-to-be victim as "Chigalalar suruvi " because of his haircut,[173] have led many critics to discuss it within the framework of postmodernizm. Describing the film in 2005 as Tarantino's "postmodern masterpiece ... to date", David Walker writes that it "is marked by its playful reverence for the 1950s ... and its constantly teasing and often deferential references to other films". He characterizes its convoluted narrative technique as "postmodern tricksiness".[174] Calling the film a "terminally hip postmodern collage", Foster Hirsch finds Jinoiy asar far from a masterpiece: "authoritative, influential, and meaningless". Set "in a world that could exist only in the movies", it is "a succulent guilty pleasure, beautifully made junk food for cinéastes ".[175] O'Brien, dismissing attempts to associate the movie with film noir, argues that "Jinoiy asar is more a guided tour of an infernal theme park decorated with cultural detritus, Buddi Xolli va Mamie Van Doren, ning qismlari blaxploitation va Rojer Korman va Shogun qotil, music out of a twenty-four-hour oldies station for which all the decades since the fifties exist simultaneously."[132] Catherine Constable takes the moment in which a needle filled with adrenalin is plunged into the comatose Mia's heart as exemplary. She proposes that it "can be seen as effecting her resurrection from the dead, simultaneously recalling and undermining the Gotik convention of the vampire's stake. On this model, the referencing of previous aesthetic forms and styles moves beyond ... empty pastiche, sustaining an 'inventive and affirmative' mode of postmodernism."[176]

Mark T. Conard asks, "[W]hat is the film haqida?" and answers, "American nigilizm."[177] Hirsch suggests, "If the film is actually about anything other than its own cleverness, it seems dedicated to the dubious thesis that hit men are part of the human family."[137] Richard Alleva argues that "Jinoiy asar has about as much to do with actual criminality or violence as Sirano-de-Bergerak with the realities of seventeenth-century France or Zenda mahbusi with Balkan politics." He reads the movie as a form of romance whose allure is centered in the characters' nonnaturalistic discourse, "wise-guy literate, media-smart, obscenely epigrammatik ".[178] In Alan Stone's view, the "absurd dialogue", like that between Vincent and Jules in the scene where the former accidentally kills Marvin, "unexpectedly transforms the meaning of the violence cliché ... Jinoiy asar unmasks the macho myth by making it laughable and deheroicizes the power trip glorified by standard Hollywood violence."[179] Stone reads the film as "siyosiy jihatdan to'g'ri. There is no nudity and no violence directed against women ... [It] celebrates interracial friendship and cultural diversity; there are strong women and strong black men, and the director swims against the current of class stereotype."[179]

Where Stone sees a celebration, Kolker finds a vacuum: "The postmodern insouciance, violence, homophobia, and racism of Jinoiy asar were perfectly acceptable because the film didn't pretend seriousness and therefore didn't mock it."[171] Calling it the "acme of postmodern nineties filmmaking", he explains, "the postmodern is about surfaces; it is flattened spatiality in which event and character are in a steady state of reminding us that they are pop-cultural figures."[180] According to Kolker:

Shunung uchun Jinoiy asar juda mashhur edi. Not because all audiences got all or any of its references to Scorsese and Kubrick, but because the narrative and spatial structure of the film never threatened to go beyond themselves into signification. The film's cycle of racist and homophobic jokes might threaten to break out into a quite nasty view of the world, but this nastiness keeps being laughed off — by the mock intensity of the action, the prowling, confronting, perverse, confined, and airless nastiness of the world Tarantino creates.[181]

Genri A. Jirou argues that Tarantino "empties violence of any critical social consequences, offering viewers only the immediacy of shock, humor, and irony-without-insight as elements of mediation. None of these elements gets beyond the seduction of voyeuristic gazing ... [t]he facile consumption of shocking images and hallucinatory delight."[182]

Regarding the violence and nihilism in the film, Pamela Demory has suggested that Jinoiy asar should be seen in light of the short stories of Flannery O'Connor,[183] which likewise feature "religious elements, banality, and violence with grotesque humor." Discussing "the connection between violence and redemption," Demory concludes that while O'Connor's purpose is to convince readers "of the powerful force of evil in the world and of our need for grace," Tarantino "seeks to demonstrate that in spite of everything we have seen in the film — all the violence, degradation, death, crime, amoral behavior — grace is still possible; there might be still be a God who doesn't judge us on merits."[184]

Hurmat mohiyat sifatida

Kino

Jinoiy asar to'la hurmat to other movies. "Tarantino's characters", writes Gari Grot, "inhabit a world where the entire landscape is composed of Hollywood product. Tarantino is a cinematic kleptomaniac – he literally can't help himself."[185] Two scenes in particular have prompted discussion of the film's highly matnli uslubi. Many have assumed that the dance sequence at Jack Rabbit Slim's was intended as a reference to Travolta's star-making performance as Tony Manero in the epochal Saturday Night Fever (1977); Tarantino, however, credits a scene in the Jan-Lyuk Godar film Bande à qismi (1964) with the inspiration. According to the filmmaker;

Everybody thinks that I wrote this scene just to have John Travolta dancing. But the scene existed before John Travolta was cast. But once he was cast, it was like, "Great. We get to see John dance. All the better."... My favorite musical sequences have always been in Godard, because they just come out of nowhere. It's so infectious, so friendly. And the fact that it's not a musical, but he's stopping the movie to have a musical sequence, makes it all the more sweet.[186]

Jerom Charyn argues that, beyond "all the better", Travolta's presence is essential to the power of the scene, and of the film:

Travolta's entire career becomes "tarix ", the myth of a movie star who has fallen out of favor, but still resides in our memory as the king of disco. We keep waiting for him to shed his paunch, put on a white polyester suit, and enter the 2001 Odyssey club in Bay Ridge, Brooklyn, where he will dance for us and never, never stop. Daniel Day-Lewis couldn't have woken such a powerful longing in us. He isn't part of America's own mad cosmology ... Tony Manero [is] an angel sitting on Vince's shoulder ... [Vince and Mia's] actual dance may be closer to the choreography of Anna Karina 's shuffle with her two bumbling gangster boyfriends in Bande à qismi, but even bu reference is lost to us, and we're with Tony again ...[187]

Estella Tincknell notes that while the "diner setting seems to be a simulacrum of a 'fifties' restaurant ... the twist contest is a musical sequence which evokes 'the sixties,' while Travolta's dance performance inevitably references 'the seventies' and his appearance in Saturday Night Fever. ... The 'past' thus becomes a more general 'pastness' in which the stylistic signifiers of various decades are loaded in to a single moment."[188] She also argues that in this passage the film "briefly shifts from its habitually ironic discourse to one that references the conventions of the classic musiqiy film and in doing so makes it possible for the film to inhabit an affective space that goes beyond stylistic allusion."[188]

The pivotal moment in which Marsellus crosses the street in front of Butch's car and notices him evokes the scene in which Marion Crane's boss sees her under similar circumstances in Psixologiya (1960).[189] Marsellus and Butch are soon held captive by Maynard and Zed, "two sadistic honkies straight out of Yetkazib berish "(1972), rejissyor Jon Boorman.[179] Zed shares a name with Shon Konneri 's character in Boorman's follow-up, the science-fiction film Zardoz (1974). When Butch decides to rescue Marsellus, in Glyn White's words, "he finds a trove of items with film-hero resonances".[190] Critics have identified these weapons with a range of possible allusions:

At the conclusion of the scene, a portentous line of Marsellus' echoes one from the crime drama Charley Varrick (1973), directed by another of Tarantino's heroes, Don Sigel; the name of the character who speaks it there is Maynard.[192]

David Bell argues that far from going against the "current of class stereotype", this scene, like Yetkazib berish, "mobilize[s] a certain construction of poor white country folk — and particularly their sexualization ... 'rustic sexual expression often takes the form of homosexual rape' in American movies."[193] Stephen Paul Miller believes the Jinoiy asar scene goes down much easier than the one it echoes: "The buggery perpetrated is not at all as shocking as it was in Yetkazib berish ... The nineties film reduces seventies competition, horror, and taboo into an entertainingly subtle adrenaline play — a fiction, a pulp fiction."[194] Giroux reads the rape scene homage similarly: "in the end Tarantino's use of parody is about repetition, transgression, and softening the face of violence by reducing it to the property of film history."[195] In Groth's view, the crucial difference is that "in Yetkazib berish the rape created the film's central moral dilemma whereas in Jinoiy asar it was merely 'the single weirdest day of [Butch's] life.'"[196] ("American Me did it too," Tarantino observed. "There's like uchta butt-fucking scenes in American Me. That's definitely the one to beat in that particular category!"[197])

Neil Fulwood focuses on Butch's weapon selection, writing, "Here, Tarantino's love of movies is at its most open and nonjudgemental, tipping a nod to the noble and the notorious, as well as sending up his own reputation as an enfant dahshatli of movie violence. Moreover, the scene makes a sly comment about the readiness of cinema to seize upon whatever is to hand for its moments of mayhem and murder."[191] White asserts that "the katana he finally, and significantly, selects identifies him with ... sharafli heroes."[190] Conard argues that the first three items symbolize a nihilism that Butch is rejecting. The traditional Japanese sword, in contrasts, represents a culture with a well-defined axloq kodeksi and thus connects Butch with a more meaningful approach to life.[198]

Televizor

Robert Miklitsch argues that "Tarantino's telephilia" may be more central to the guiding sensibility of Jinoiy asar than the filmmaker's love for rock 'n' roll and even cinema:

Talking about his generation, one that came of age in the '70s, Tarantino has commented that the "number one thing we all shared wasn't music, that was a Sixties thing. Our culture was television." A random list of the TV programs referenced in Jinoiy asar confirms his observation: Speed ​​Racer, Debriyajli yuk, Brady guruhi, Keklik oilasi, Qasoskorlar, Uch qadam, Flintstones, Men josuslik qilaman, Yashil akr, Kung Fu, Baxtli kunlar, and last but not least, Mia's fictional pilot, Fox Force Five.[199]

"The above list, with the possible exception of Qasoskorlar," writes Miklitsch, "suggests that Jinoiy asar has less of an elective affinity with the cinematic avant-gardism of Godard than with mainstream network programming."[200] Jonathan Rosenbaum had brought TV into his analysis of the Tarantino/Godard comparison, acknowledging that the directors were similar in wanting to cram everything they like onscreen: "But the differences between what Godard likes and what Tarantino likes and why are astronomical; it's like comparing a combined museum, library, film archive, record shop, and department store with a jukebox, a video-rental outlet, and an issue of Televizion qo'llanma."[110]

Sharon Willis focuses on the way a television show (Debriyajli yuk ) marks the beginning of, and plays on through, the scene between young Butch and his father's comrade-in-arms. The Vietnam War veteran is played by Christopher Walken, whose presence in the role evokes his performance as a traumatized G.I. in the Vietnam War movie The Deer Hunter (1978). Willis writes that "when Captain Koons enters the living room, we see Walken in his function as an image retrieved from a repertoire of 1970s television and movie versions of ruined erkaklik in search of rehabilitation ... [T]he gray light of the television presiding over the scene seems to inscribe the ghostly paternal gaze."[201] Miklitsch asserts that, for some critics, the film is a "prime example of the pernicious ooze-like influence of mass culture exemplified by their bête noire: TV."[200] Kolker might not disagree, arguing that "Jinoiy asar is a simulacrum of our daily exposure to television; its homophobes, thugs and perverts, sentimental boxers and pimp promoters move through a series of long-take tableaux: we watch, laugh, and remain with nothing to comprehend."[181]

Notable motifs

The mysterious 666 briefcase

Vincent "stares ... transfixed" into the glowing case, as specified in Tarantino's screenplay.[202]
Vincent's demeanor reinforces the allusion to the scene in Meni o'lik holda o'p (1955) in which Lily Carver, a.k.a. Gabrielle (Gabi Rojers ), gazes into the glowing case.[203]

The combination of the mysterious suitcase lock is 666, the "Hayvonning soni ". Tarantino has said there is no explanation for its contents – it is simply a MacGuffin, a pure fitna qurilmasi. Originally, the case was to contain diamonds, but this was seen as too mundane. For filming purposes, it contained a hidden orange light bulb that produced an otherworldly glow when the case was opened.[204] In a 2007 video interview with fellow director and friend Robert Rodriguez, Tarantino purportedly "reveals" the secret contents of the briefcase, but the film cuts out and skips the scene in the style employed in Tarantino and Rodriguez's Grindxaus (2007), with an intertitle that reads "Missing Reel". The interview resumes with Rodriguez discussing how radically the "knowledge" of the briefcase's contents alters one's understanding of the movie.[205]

Despite Tarantino's statements, many solutions to what one scholar calls this "unexplained postmodern puzzle" have been proposed.[98] A strong similarity has often been observed with the 1955 film noir Meni o'lik holda o'p. That movie, whose protagonist Tarantino has cited as a source for Butch, features a glowing briefcase housing an atomic explosive.[206] Ularning sharhida Aleks Koks 1984 yilgi film Repo odam ichida Daily Telegraph, Nick Cowen and Hari Patience suggest that Jinoiy asar may also owe "a debt of inspiration" to the glowing car trunk in that film.[207] In scholar Paul Gormley's view, this connection with Meni o'lik holda o'p, and a similar one with Yo'qotilgan Arkning bosqinchilari (1981), makes it possible to read the eerie glow as symbolic of violence itself.[208] The idea that the briefcase contains Marsellus' soul gained popular currency in the mid-1990s. Analyzing the notion, Rojer Ebert dismissed it as "nothing more than a widely distributed urban legend given false credibility by the mystique of the Net".[209]

Jules' Bible passage

Jules ritually recites what he describes as a biblical passage, Hizqiyo 25:17, before he executes someone. The passage is heard three times – in the introductory sequence in which Jules and Vincent reclaim Marsellus' briefcase from the doomed Brett; that same recitation a second time, at the beginning of "The Bonnie Situation", which overlaps the end of the earlier sequence; and in the epilogue at the diner. The first version of the passage is as follows:

The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy My brothers. And you will know My name is the Lord when I lay My vengeance upon thee.

The second version, from the diner scene, is identical except for the final line: "And you will know I am the Lord when I lay my vengeance upon you."

While the final two sentences of Jules' speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases.[210] The text of Ezekiel 25 preceding verse 17 indicates that God's wrath is retribution for the hostility of the Filistlar. In King James versiyasi from which Jules' speech is adapted, Ezekiel 25:17 reads in its entirety:

And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay My vengeance upon them.[211]

Tarantino's primary inspiration for the speech was the work of Japanese jang san'ati Yulduz Sonni Chiba. Its text and its identification as Ezekiel 25:17 derive from an almost identical creed that appears at the beginning of the Chiba movie Karate Kiba (Qo'riqchi; 1976), where it is both shown as a scrolling text and read by an offscreen narrator.[212]

The version seen at the beginning of The Bodyguard (1976) quyidagicha:

Solih inson va himoyachining yo'li har tomondan xudbinlarning gunohkorligi va yovuz odamlarning zulmi bilan to'sib qo'yilgan. Xayriyat va yaxshi niyat uchun zulmat vodiysi orqali zaiflarni cho'pon qiladigan u baxtlidir, chunki u haqiqatan ham birodarining qo'riqchisi va yo'qolgan bolalarning otasi. Men birodarlarimni zaharlaydigan va yo'q qiladigan g'azab bilan ulardan katta qasos olaman. Men ulardan qasos olsam, ular Mening qo'riqchi Chiba ekanligimni bilib olishadi!

In the 1980s television series Kage no Gundan (Soya jangchilari ), Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him.[213] A killer delivers a similar biblical rant in Kamtarlik Blez, the hardback but pulp-style novel Vincent is shown with in two scenes.[214]

Two critics who have analyzed the role of the speech find different ties between Jules' transformation and the issue of postmodernlik. Gormley argues that unlike the film's other major characters – Marsellus aside – Jules is:

linked to a "thing" beyond postmodern simulation ... [T]his is perhaps most marked when he moves on from being a simulation of a Baptist preacher, spouting Ezekiel because it was "just a cool thing to say ..." In his conversion, Jules is shown to be cognizant of a place beyond this simulation, which, in this case, the film constructs as God.[215]

Adele Reyxartz writes that the "depth of Jules's transformation" is indicated by the difference in his two deliveries of the passage: "In the first, he is a majestic and awe-inspiring figure, proclaiming the prophecy with fury and self-righteousness ... In the second ... he appears to be a different sort of man altogether ... [I]n true postmodern fashion, [he] reflects on the meaning of his speech and provides several different ways that it might pertain to his current situation."[216] Similar to Gormley, Conard argues that as Jules reflects on the passage, it dawns on him "that it refers to an objective framework of value and meaning that is absent from his life"; to Conard, this contrasts with the film's prevalent representation of a nihilistic culture.[217] Rosenbaum finds much less in Jules's revelation: "[T]he ma'naviy uyg'onish oxirida Jinoiy asar, which Jackson performs beautifully, is a piece of jive avowedly inspired by kung-fu movies. It may make you feel good, but it certainly doesn't leave you any wiser."[218]

The bathroom

Ko'p narsa Jinoiy asar's action revolves around characters who are either in the bathroom or need to use the toilet. To a lesser extent, Tarantino's other films also feature this narrative element.[219] At Jack Rabbit Slim's, Mia goes to "powder her nose" – literally; u snorts coke in the restroom, surrounded by a bevy of women vainly primping. Butch and Fabienne play an extended scene in their motel bathroom, he in the shower, she brushing her teeth; the next morning, but just a few seconds later in screen time, she is again brushing her teeth. As Jules and Vincent confront Brett and two of his pals, a fourth man is hiding in the bathroom – his actions will lead to Jules' transformative "moment of clarity". After Marvin's absurd death, Vincent and Jules wash up in Jimmie's bathroom, where they get into a contretemps over a bloody hand towel.[140] When the diner hold-up turns into a Meksika qarama-qarshiligi, "Honey Bunny" whines, "I gotta go pee!"[220]

As described by Peter and Will Brooker, "In three significant moments Vincent retires to the bathroom [and] returns to an utterly changed world where death is threatened."[221] The threat increases in magnitude as the narrative progresses chronologically, and is realized in the third instance:

  1. Vincent and Jules' diner breakfast and philosophical conversation is aborted by Vincent's bathroom break; an armed robbery ensues while Vincent is reading on the toilet.
  2. While Vincent is in the bathroom worrying about the possibility of going too far with Marsellus' wife, Mia mistakes his heroin for cocaine, snorts it, and overdoses.
  3. During a stakeout at Butch's apartment, Vincent emerges from the toilet with his book and is killed by Butch.

In the Brookers' analysis, "Through Vince ... we see the contemporary world as utterly contingent, transformed, disastrously, in the instant you are not looking."[221] Fraiman finds it particularly significant that Vincent is reading Kamtarlik Blez in two of these instances. She links this fact with the traditional derisive view of women as "the archetypal consumers of pulp":

Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of "pulp" that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations – pulp, women, shit – that taint not only male producers of mass-market fiction but also male consumers. Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub.[222]

Willis reads Jinoiy asar in almost precisely the opposite direction, finding "its overarching project as a drive to turn shit into gold. This is one way of describing the project of redeeming and recycling popular culture, especially the popular culture of one's childhood, as is Tarantino's wont as well as his stated aim."[201] Despite that, argues Fraiman, "Jinoiy asar demonstrates ... that even an open pulpophile like Tarantino may continue to feel anxious and emasculated by his preferences."[220]

Taqdirlar

Asosiy maqola: Pulp Fiction tomonidan olingan maqtovlar ro'yxati

Jinoiy asar won eight major awards from a total of twenty-six nominations, including a Eng yaxshi original ssenariy da g'alaba qozonish 67-chi Oskar mukofotlari.[89][119][122][223][224] Also, in the balloting by the Milliy kinoshunoslar jamiyati, Samuel L. Jekson was the runner-up in both the Eng yaxshi aktyor va Eng yaxshi ikkinchi darajali aktyor toifalar.[224]

Amerika kino instituti Ro'yxatlar

Shuningdek qarang

Adabiyotlar

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Bibliografiya

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