The Hateful Eight
Hateful Eight, The (2015)
★★★ / ★★★★
“The Hateful Eight,” written and directed by Quentin Tarantino, is not for the type of audience who would rather watch elaborate chase sequences or skyscrapers blow up every fifteen to twenty minutes—whether it is on mute or otherwise. It is, however, for the most part, for viewers who prefer to listen to extended dialogues as closely possible as lines uttered reveal—sometimes small, at times significant but almost always telling—traits of the individual, colorful characters that show up on screen.
The picture runs for about three hours and it is divided into six meticulously crafted chapters. After the fourth chapter, therein lies a sudden shift it tone and pacing—as if it were once a man in a drunken stupor suddenly jolting himself into full awareness and ready to sprint to the finish line. But one should not make the mistake of labeling the first four chapters as “boring.” Such a criticism, in this case, is most superficial—arguably to be an egregious error.
The first hour and a half is an exploration of who the characters are despite our first impressions. The more we get to know them, the likelier it is for us to care about what would happen to them eventually as the story drills deeper into the western mythos of justice, vengeance, and the roles people play as well as the archetypes fellowmen assign onto others in order to further define one’s self-perceived status. There is a level of intelligence, wit, and creative brazenness here that is not seen enough in movies of today.
As far as plot goes, it is very simple to follow. A man known around post-Civil War Wyoming as “The Hangman,” whose real name is John Ruth (Kurt Russell), has captured a murderous criminal named Daisy Domergue (Jennifer Jason Leigh). There is bounty of ten thousand dollars—dead or alive—on her head and John Ruth is escorting her to a place called Red Rock to collect the sizable reward. Some say it is far easier to kill the criminal—that way, there is no chance that she will end up killing her captor instead—but according to the stories, once one is captured by The Hangman, he or she must hang. Though their trajectory is clear as day, they are forced to take refuge in a haberdashery due to an approaching blizzard.
Listen to the dialogue closely as the characters talk about race, make jokes, and tell stories that may or may not be true. (The story of a man’s final wish is likely to leave the viewer stirred.) Under the same roof are highly dangerous folks with volatile personalities. This being a Tarantino film, we know already that somebody is going to go off eventually. Thus, suspense is embedded into the marrow of the situation. As the figures begin to question and challenge one another’s beliefs, opinions, and values, we attempt to guess which one will break first. I did not guess correctly who would go for his gun first—and I was most elated by such an unpredictability.
While a slew of criticisms are likely to label the picture as slow—which is not entirely without validity—some movies, like this one, demand that it be as slow as molasses. In my opinion, we are meant to be absorbed as fully as possible into this world. The more subsumed we are into its overall universe with respect to the varying perception of each character, the more we are able to recognize the criticism the writer-director wishes to make—sometimes inadvertently—about how we relate (or fail to relate) to one another today. Yes, it has something to do with race relations, too.
As I watched “The Hateful Eight,” filled with very strong performances particularly by Samuel L. Jackson, Walton Goggins and Jennifer Jason Leigh, I felt as though I was watching a work of a filmmaker who is not afraid to achieve his vision. Anybody is entitled to have their opinion of the film, but one cannot take away the fact that Tarantino made and presented his work the way he intended it to be. Others should aspire to follow.