Cast: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, Bruce Dern
Director: Quentin Tarantino
Writer: Quentin Tarantino
Nobody does character and dialogue quite like Quentin Tarantino. His command of the English language is both bewildering and astonishing to behold as he crafts astounding cinematic moments through anecdotal conversations and suspenseful monologues. In Pulp Fiction he gave us an entire trivial conversation about hamburgers, TV pilots and foot massages. Not only is this discourse interesting, witty and captivating but also it allows the audience to learn a wealth about the characters and the world they inhabit without them even realising it. The characters themselves are so dynamic, fascinating and entertaining that you cannot help but love them whether they’re ruthlessly vengeful like the Bride, despicably evil like Hans Landa or even sadistically racist like Calvin Candie. This is why I was so excited by the concept of The Hateful Eight. By placing nearly the entirety of his film within a small, secluded cabin, Tarantino has created the perfect environment for his dialogue and characters to truly flourish. The result is stellar.
When a snowstorm strikes deep in the wilderness of Wyoming a collection of unconventional individuals are forced to seek shelter in a cabin and wait the blizzard out. Amongst them are the bounty hunter John Ruth (Kurt Russell) and his prisoner Daisy Domergue (Jennifer Jason Leigh), the new sheriff of Red Rock Chris Mannix (Walton Goggins), the Mexican employee of the haberdashery Bob (Demián Bichir), the Red Rock hangman Oswaldo Mobray (Tim Roth), a quiet cowboy called Joe Gage (Michael Madsen), the civil war general Sandy Smithers (Bruce Dern) and another bounty hunter called Major Marquis Warren (Samuel L. Jackson). Ruth lets everyone know that he’ll be damned before letting anyone else take his $10,000 bounty from him and will not hesitate to turn his gun on anyone who tries anything suspicious. Tensions rise as these characters start to believe that somebody isn’t who they say they are and so the situation simply plays out from there.
What follows is essentially an Agatha Christie mystery with much more violence, profanity and racism. The real beauty of this film comes from watching the interactions between these characters as they seek to work out what exactly is happening. The tension is rife as they interrogate each other, looking for weaknesses and holes, and wait for somebody to make a move or a mistake. In what is undoubtedly one of the year’s best ensemble performances, the standouts for me were Samuel L. Jackson and Jennifer Jason Leigh. The former plays an astute and menacing bounty hunter who constantly gets derided for his race. The role fits Jackson likes a glove as he gives what is quite possibly his best performance since Pulp Fiction. Leigh meanwhile is a wild, foul-mouthed, erratic criminal who gets sheer glee from being downright malevolent. Amongst an entire group of nefarious characters she is able to distinguish herself as the baddest one in the bunch. These characters take on a life of their own as their actions and interactions propel the story forward and allow the drama to unfold at a rapid yet natural pace.
Tarantino’s dialogue is as always smart, absorbing and stylishly obscene. With each crafty exchange of dialogue and each devious monologue the film’s tension grows more and more palpable as these characters learn more about each other and their situation. The viewer is never quite sure where these characters stand or which ones they can really trust. By setting this film squarely in a cabin surrounded by a tempestuous snowstorm Tarantino allows the claustrophobia to reign supreme as the paranoia slowly seeps in and grows more potent. The film’s build-up of tension is as meticulous and exciting as it is in John Carpenter’s The Thing, also (not coincidentally) starring Kurt Russell. Tarantino’s abilities as a writer and a director shine in this film and are utilised to perfection. Also worthy of praise is Ennio Morricone’s electrifying original score which is every bit as intense and stylish as the dialogue.
I’ve heard a lot of people complain about this film’s runtime and I simply cannot understand why. The great Roger Ebert once said that no good movie is too long and The Hateful Eight is a great movie that makes every minute count. I was completely immersed by the film’s story, characters and dialogue and didn’t look at my watch once during the film’s entire three-hour duration. Tarantino has distinguished himself through his ability to blend genres and what he presents here is a spaghetti-western whodunit that only he could have made. The dialogue is typical Tarantino and is as funny, stimulating and rousing as it has ever been. Every character is compelling and memorable and each one gets a moment in the spotlight. The Hateful Eight is clever, bizarre, intense, unpredictable and riveting. Watching is was an exhilarating experience for me and I think it ranks amongst Tarantino’s best.