by Ted Welch
Tue Jan 29th, 2013 at 02:47:58 PM EST
The issue of violence, with obvious reference to the US, was raised in December 2012 by a French magazine - this is a poster for it on display in Nice (English text added by me).
Since then, these have been the main American films advertised in Nice:
The famous line "when I hear the word culture, I reach for my gun", often associated with Nazi leaders, derives from this play (Schlageter, by Hanns Johst). The actual original line from the play is slightly different: "Wenn ich Kultur höre ... entsichere ich meinen Browning!" "Whenever I hear of culture... I release the safety catch of my Browning!" (Act 1, Scene 1).
Ian Jack in the Guardian:
The school shootings at Newton, Connecticut, had happened only three weeks before Guru-Murthy began to ask Tarantino about the possible links between cinematic and real violence, which perhaps explained the director's thrilling loss of control: "I refuse your question ... I'm here to sell my movie ... I'm shutting your butt down." His view is that no link exists, that movie violence is a fantasy lacking any effect on real-world behaviour - unlike, say, the banned TV adverts for cigarettes that were also a kind of fantasy on their maker's part, though one the consumer could easily satisfy at any tobacconist's. The question may be complicated, but to deny any link absolutely is surely to protest too much, unless your reputation and the multi-billion-dollar industry you're a part of depend on it.
Tarantino interviewed on Ch 4:
Certain film critics also leave me at a loss. Insightful, sympathetic writers, such as this paper's Peter Bradshaw or the Observer's Philip French, accord Tarantino what, to me, is a mysterious degree of respect. "A powerful film, its dramatic brush strokes broad and colourful, its psychological points made with considerable subtlety and wit," French wrote of Django Unchained, " ... it places Tarantino among the most impressive film-makers at work today."
How can that be? In its first two hours there are some good things, not least the script, and Waltz is thoroughly engaging as the film's wittiest and most humane character. But the subjects Tarantino finds consistently exciting are people being murdered, people screaming in pain, people begging for mercy. Boring might be the wrong word for these events, but their profusion takes away meaning. So much cruelty, so much noise, rehearsed and repeated until it satisfies the man-child in the director's chair.
In the comments some people take the line that it's just entertainment - but of course this does not mean that entertainment has no effects; much advertising is entertaining and some of it works.
As the posters above indicate, it's far from being just a problem of Tarantino's films. The uniformity of the message, in a set of films from such a short time-span, in the context of so many killings in the US, is appalling.
Well, there is also:
But then it is about a president who was shot and who presided over an extremely bloody civil war, which saw the introduction of weapons like the Gatling gun.
It's good that in Europe a film like Amour gets EU support:
Michael Haneke’s Amour (Love), starring Isabelle Huppert, Jean-Louis Trintignant and Emmanuelle Riva, has won has the Golden Globe award for Best Foreign Language Film. This accolade follows its recent string of nominations for Academy and BAFTA awards.
The film is distributed in over 20 European countries with MEDIA grants totalling 920,000, including 125,000 for the Artificial Eye's UK release.
A masterly and moving portrait of love and of elderly couple's relationship in the face of age and a debilitating stroke, the film has already accumulated a number of awards including the Palme d'Or at Cannes 2012 and European Film Awards for Best Film, Best Director and both Best Actor and Best Actress for the lead pair for their portrayal of Georges (Trintignant) and Anne (Riva).
The MEDIA Programme helps the European Union film and audiovisual industries with financial support in the development, distribution and promotion of their work.
But then it wouldn't appeal to 15 year-old boys.