The Hateful Eight (2015)
Directed by: Quentin
Tarantino
Written by: Quentin Tarantino.
Starring: Samuel L. Jackson (Major
Marquis Warren), Kurt Russell (John Ruth), Jennifer Jason Leigh (Daisy
Domergue), Walton Goggins (Sheriff Chris Mannix), Demián Bichir (Bob), Tim Roth
(Oswaldo Mobray), Michael Madsen (Joe Gage), Bruce Dern (General Sandy
Smithers), James Parks (O.B Jackson), Dana Gourrier (Minnie Mink), Zoë Bell
(Six-Horse Judy), Lee Horsley (Ed), Gene Jones (Sweet Dave), Keith Jefferson
(Charly), Craig Stark (Chester Charles Smithers), Belinda Owino (Gemma),
Channing Tatum (Jody)
Watching
The Hateful Eight again – for the first time since it came out in 2015 – I
couldn’t help but wonder if this was Tarantino’s way of becoming an internet
troll. I don’t say mean that in a bad way, because the film is still
brilliantly written, directed and acted, but because I kind of think that this
was Tarantino’s way of attacking back on all the things said about him. That
his films are racist or misogynistic or homophobic, and instead turns it back
on America itself – basically arguing (not incorrectly) that those very things
are ingrained in very fabric of America. But he does it all in a way that
doesn’t hold your hand in that argument – instead of just places all these,
well, Hateful, people together in a room and lets them loose. If you’re
uncomfortable, is that discomfort with the film, or with America? You decide.
On the
surface level, The Hateful Eight is a Western take on one of those closed door,
Agatha Christie mysteries. It is basically 9 people (poor O.B. – he isn’t
hateful, but in that room, he doesn’t stand a chance) who are trapped by a
snowstorm. There is a black bounty hunter and Civil War Veteran Major Marquis
Warren (Samuel L. Jackson) with three dead bodies that he wants to turn in for
the bounty. Another bounty hunter – John Ruth (Kurt Russell) with his latest
capture – Daisy Domergue (Jennifer Jason Leigh) – also trying to make his way
to town to collect the bounty. The new Sheriff of that not far off town – and
the son of Marauder, those Southerners who couldn’t except the result of the
war Chris Mannix (Walton Goggins) on his way to start his new job. There is
Mexican Bob (Demian Bichir) – who has apparently been left in charge of
Minnie’s Haberdashery with the owner away. An aging Confederate General looking
for information on his dead son, Sandy Smithers (Bruce Dern). And a couple of
mysterious strangers – Oswaldo Mobray (Tim Roth) – apparently a hangman and Joe
Gage (Michael Madsen) – who is there for, well, who really knows. They all have
secrets and ulterior motives that will only slowly be revealed – and then the
bloodbath will commence.
The film,
even more than most Tarantino films, is almost all dialogue. The film traps us
with these people who should never be in the same room together in that room
together, and won’t let them go. If you’re paying attention, you’ll be
uncomfortable even before you get to that room. The violent way Ruth deals with
Daisy – he punches her, elbows her in the face, and generally berates her with
a lot of sexist language. But it’s not like Daisy is an innocent – she’s an
out-and-out racist, who goes out of her way to provoke the hatred of everyone
around her. Mannix is a more “respectable” racist – in that while he’s racist, he
can be civil to Marquis. And you find out pretty early on just how many people
Marquis has killed – and how – which doesn’t make him look good.
And then,
for nearly three hours, Tarantino lets them bounce off each other. They argue,
bicker, provoke, fight, etc. the entire time. Everyone is trying to suss out
everyone else’s motives – and not getting very far. If Marquis is our hero –
he’s a flawed one. He certainly has a reason to hate General Smithers – but his
long, homophobic tirade just to provoke a response so that he can kill him
maybe taking it too far. John Ruth – obviously styled on John Wayne – may have
a reason to bring Daisy is – but that doesn’t mean he’s not a violent
misogynist anyway.
There was
a lot of debate when the film came out if it was racist, or depicted racism. If
it was misogynistic or depicted misogyny. If it was homophobic, or depicted
homophobia. I think, taken as a film onto itself, The Hateful Eight comes out
on the right side of those issues. It makes sense that in the years after the
Civil War that racism would be this open, this rampant and widespread among
white people – and that most of them would use the word nigger without a second
though. And, for the most part, I think Tarantino’s other movies which uses the
word as frequently also make sense unto themselves. But at a certain point, I
do think you have to wonder if Tarantino just likes the word, and finds
“legitimate” reasons to use it in all of his movies. I’ve never bought the
misogyny charges against Tarantino – and don’t here either. He has long since
loved strong female characters – in every sense of the word – and while Daisy
is despicable, she is that as well. And the ultimate message of the film –
that’s men’s hatred of women will ultimately outweigh the racism they feel
towards each other could be construed (if you’re feeling generous) as a
feminist message. As for the homophobia – I think it’s valid to point out that
Marquis’ rant is meant to provoke a homophobic response in Smithers – and isn’t
itself homophobic. But I also think it’s fair to point out that’s it’s a fairly
cheap gambit – and beneath a writer of Tarantino’s talents.
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