All posts tagged “revenge

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Django Unchained, Quentin Tarantino (2012)

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It’s funny–the memories I have of Inglorious Basterds don’t align much with what it turns out, upon investigation, I wrote about it. My memory of it was that it made a cartoon of Nazism, which discomfited me. I also remember arguing with my friend Harold about that; he enjoyed the catharsis of the comic revenge fantasy, and believed, if I recall correctly, that I was being a sanctimonious spoilsport and prig.

This is basically the same movie as Inglorious Basterds, except this time the comic revenge fantasy is directed at slavery instead of the Final Solution. Again we find Tarantino making extensive reference to B-movie history, ginning up auteur-esque gestures (e.g. a lengthy scene where Django’s mentor explains the difference between playing a character and being a self), completely failing to demonstrate a capacity to edit himself (this thing could have been cut by a third), and running through probably a hundred barrels of stage blood.

I tend when watching violent movies not to really see the blood. I don’t like blood, for one thing, and for another its appearance in a film is usually just a kind of notation, signifying that violence has occurred. Do you notice whether it’s a puddle the size of a pancake or a puddle the size of a manhole? I don’t — who cares? But you can’t miss Tarantino’s blood any more than you could fail to notice the lights on the Sunset Strip. It doesn’t trickle or ooze, it explodes in Hawaiian-Punch-colored geysers. Look on the poster — it’s everywhere!

Despite its striving after effects and affect, and its predictably cartoonish, weirdly pornographic vision of slavery, I enjoyed this. Harold was right; there’s some shameful but deep atavistic pleasure in seeing the hero tortured and knowing the torturer, within the hour, is going to meet an elaborately painful end.

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Michael Kohlhaas, Heinrich von Kleist (1810)

Michael-Kohlhaas-320x373Von Kleist is an author I’ve often heard referenced — in particular I remember that Rilke’s Duino elegy about the harlequins owes Von Kleist some kind of debt I forget — but had never read. Thanks to the good people at Melville House Publishing and their lovely editions of novellas like this one, I’ve at last been inspired.

This is a relentless little story which quite nicely maps onto a lot of contemporary issues and quandaries. Here’s the question in a nutshell: To what extent is it acceptable to commit injustices in the course of seeking redress for injustices? You could ask this of the prisoners of Guantanamo, and you could ask it too of Michael Kohlhaas.

Kohlhaas, a prosperous citizen, is done wrong by a nobleman, who seizes two of Kohlhaas’s horses under the guise of some bogus regulations. When Kohlhaas tries to pursue redress through legal channels, the nobleman’s friends in high places see to it that the petitions are squashed. Then Kohlhaas, enraged — one must imagine him played by Klaus Kinski at this point — takes matters into his own hands, terrorizing the countryside in an effort to force the ruling classes to make him whole.  From here events swirl into ever-tightening circles of moral hazard and illogic, where it is increasingly difficult to say who is in the right, or what “right” might even be. The funhouse claustrophobia and panic reminded me strongly of Kafka’s The Trial, and I was not surprised to find out with a little research on Wikipedia that this novella was a favorite of Franz’s.