Quote:
Originally Posted by Ghoulish Delight
Tarrantino's style is all about the artifice of film making. He had no interest in suspending disbelief, he always wants you to be aware that you're watching a movie, being told a story. That's why, I believe, he uses so many idioms from the early days of film, when they were still toying with the medium, hadn't mastered the suspension of disbelief, and were still just putting plays and telling stories on screen.
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Actually, I find suspension of disbelief frequently tougher in current mainstream movies than in much fare from the thirties through seventies. Quick case in point:
A Night To Remember (58) vs.
Titanic (97). The latter is so impressed with itself and its shiny effects that it pulls me out of its story constantly.
AN2R is subtle, unflashy, and even if the effects are primitive, I leave that movie feeling like I lived through it much more than Cameron's effort. Another quick example; I prefer
The Longest Day (62) over
Saving Private Ryan (98) for Normandy landing sequences, largely because it doesn't go out of its way to throw snazzy techniques, severed limbs and surround sound whooshes and explosions in my face.
Ryan almost seemed like a (very grisly) theme park attraction. And don't get me started on
Pearl Harbor. Okay, rambling, must get ready for work.