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How THIS Scene Disturbed Hollywood
زیرنویسها (638 بخشها)
[Music]
I'm coming in there with my own two eyes
I'm going to get a good look at
George and
this ain't stopping me so we all know
Tarantino's career is full of legendary
scenes but perhaps his most
sophisticated use of suspense isn't one
that ends in a thunderous
shootout I love that stuff you all the
killing but this one I actually think
the spawn Ranch sequence with Brad is
one of my favorite sequences I've ever
done I could not be happier with the
effect that it has on an audience where
you get that kind of just dead quiet
that's why today I want to look at how
Tarantino masterfully builds suspense
and what he considers his favorite scene
among the ones he's created and which
might just be the closest thing we'll
ever see to a horror film directed by
him because if the entire film is a love
letter to the Twilight of Hollywood's
Golden Era an almost idealized Vision by
Tarantino of a bygone cherished time
this scene is its star opposite it's
almost a doorway to his nightmare where
we witness Hollywood's darkest side a
shadowy abandoned film set overtaken by
sectarian Drifters who would eventually
bring about the tragic end of Sharon
Tate marking the symbolic demise of an
era but before we dive into what makes
it so chilling let's get some
context this time our protagonists
aren't soldiers or gangsters they are
these guys Rick doton and to my left is
Rick stut double Cliff booth and there's
something really interesting about them
all right what's matter partner the
whole thing of their career is Rick is
the one who pretends to be the badass
Cowboy the guy who can do this and the
guy who can do that and Cliff is the guy
who's the badass who can do this and can
do that and you can see this dichotomy
in these two scenes while Rick star is
in a situation within a fictional
Western you come down here for a for a
Boston social are we going to talk priz
the very next scene cuts the cliff
experiencing a real situation in a
setting straight out of a classic
Western at some level they represent the
central dichotomy of the film the
tension between reality and fiction
which is precisely what makes the ending
so
fascinating but I don't want to get
sidetracked the thing is Cliff has just
dropped Rick off at the set and taken
the day to handle a few errands go home
fix my intenna do whatever see it right
along the way we get to see some of
Cliff's skills like parkour and
hand-to-hand combat in a flashback he
recalls but more importantly this is the
moment where a presence begins to take
shap one that lingers throughout the
film like a threat in the shadows except
it's not exactly introduced as a threat
in the
shadows I mean when news broke that
Tarantino was making a film with Manson
as a character many wondered how he
would approach it after all Manson
seemed like the perfect candidate for
Tarantino to create one of his iconic
villains or pull off something like this
yeah he's a family man too with his keys
and his gun he's teaching his children
right now they're learning his beliefs
and they'll be living him but the truth
is this is the the opposite of how
Tarantino typically introduces that kind
of character here we see Manson in a
rickety unimpressive car that looks like
it's about to fall apart his
introduction isn't grandiose like
hellstrom's or landas instead it's a
distant wide shot of him small and
hunched over as he walks with his head
down it's not just Tarantino keeping his
distance it's him demystifying the myth
this his Shaggy he humanizes
Manson and to some extent pulls him out
of that cliched perception of him hell
welcome do I know you uh no no I'm just
looking for Terry can I help you oh yeah
hey man I'm looking for Terry I'm a
friend of Terry's and Dennis Wilson's
and this is especially clear when he
speaks uh you know you know where he's
just a regular guy and there's a certain
Pathos in the way he's portrayed not as
a fearsome figure but as a pitiable one
where he doesn't come across as imposing
or threatening at all compared to other
versions we've seen on screen
and even in the camera choices as if
Tarantino deliberately decided to deny
him the right to a prominent image most
of the time he's shown from behind and
he only has two moments in the entire
film where his face appears in closeup
totaling less than 5
Seconds instead of portraying Manson The
Man as a devil Tarantino plays with what
we already know about his story and
chooses not to amplify the iconography
surrounding his figure but despite that
placing his presence here is almost most
strategic from a storytelling
perspective because it makes the scene
genuinely unsettling Charlie's going to
dig you and that's what I want to focus
on now but before we continue with the
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