pure FORESHADOWING (nifra_idril) wrote,
pure FORESHADOWING
nifra_idril

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I'll wrap my wall around your heart.

Another thought I just had tonight about Talisman: Lex's words in the barn aren't an interpretation based on his own, inbred biases -- they're a statement of intent, and a kind of plea. It's him telling Clark, "All right, yes, in the future, I'll probably fight you, but I have to. You have to have me, have to have somebody to balance you out or you'd be a monster, and Clark, I need to know what it takes for me to do this. I need you to know that I have to be brave to do this."

Because Lex's bravery isn't in question -- he'll stand up to whomever he pleases, whenever, unless, of course, that person is someone whose opinion *matters* to him. Lionel and Clark are, of course, the ones I'm thinking of -- but beyond them have we ever seen him shrink back from confrontation? I feel like the answer is no. And that's not a question of bravery, no matter what the position of the person to whom he's standing up is, in relation to him.

So the Segeet thing was Lex saying, "They were like brothers, and he stood up to him, despite how much Segeet cared about Numan, because Numan could have become something awful. Isn't *that* brave?" Like I said -- statement of intent and plea all in one. I'm not articulating this clearly, but it's almost 4:30 and I've been living in the world of ridiculous litcrit all day.


Kill Bill is just such a meta-fantastic movie. Also, why are people not writing O-ren/Gogo or O-ren/Sofie. For me. Right now. Because you love the fact that I'm a retarded spider monkey on crack. But, at any rate, watching Vol. 1 tonight I was thinking about the ways in which it forces the audience to confront our attitudes toward violence -- in particular, why is it that the scene with Buck makes me cringe every time I see it, where as the scene with the crazy 88s doesn't?

The personalized violence and violation of Buck against The Bride -- that's something that makes everyone uncomfortable. She's helpless, and something about that makes us recoil on a visceral level. Meanwhile, during the big fight sequences, it's almost a meeting of equals. Also, of course, we've been manipulated into having sympathy for The Bride, and we can't care about the '88s.

I feel like Kill Bill is very good at making us care about certain deaths and not others and then later you go back and think about that, and you're like, "What? Why?" I love O-Ren, and I love Gogo, and their relationship for whatever reason pings as slashy to me. I just feel like Gogo has a sort of Mercy Graves thing for O-Ren. It's not about the money, it's about the mistress.

Also, PS, SHIT MAN, I so wish I could swordfight.

Another thing is that I think it's amazing how Tarantino makes cartoon violence (literally, the violence in the cartoons) more affecting than the cartoon*y* violence of the fight scene with the crazy 88s.

Love that movie. Love. It.


Status Report:

Cigarettes: A full pack. I...*hangs head*
Coffees: 3
Existential Freak Outs: 1, which lead to not working for the rest of the day
Pages Written: 4
Pages Read: 430(ish)
Days Left to do Work: 6
Panic: Fair to Middlin'
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