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CINEMATOGRAPHY WORKSHOP 13


TARANTINO
Ugly, dirty and ill

You know how it works Quentin Tarantino: a genre of film making and pays homage to the absurd. The theft of noir in Reservoir Dogs, the pulp fiction in Pulp Fiction, Jackie Brown the blaxploitation in the oriental martial arts in Kill Bill, terror router in Death Proof. And now it's up to the war. But not just any war movie, with a group of Jewish soldiers surrendered to the mission to assassinate Nazi bloodiest way possible, recover the great tradition of The Dirty Dozen by Robert Aldrich, and commands ugly, dirty and evil that made him cream of the forces that defeated the Nazis.



By Alfredo Garcia


With Basterds, Quentin Tarantino gives a sharp turn at the wheel driving the recent Kurt Russell in Death Proof and places the viewer in the midst of Nazi-occupied France by 1941. Except for historical revisionism films post-Schindler's List and Saving Private Ryan, war as epic entertainment extravaganza and is unusual in Hollywood, but, obviously, Tarantino is not Hollywood. Does it?

Yes and no, and that is something that can be seen reviewing the numerous and diverse sources of tribute and inspiration with which, through these Inglourious Basterds, Quentin Tarantino war film runs.

The most obvious reference of the last opus of the director is in its title. Although on paper the script on a command of Jewish soldiers to kill Nazis and want to settle dozens of Hitler, Goebbels, Goering and Borrman at the premiere of a classic Nazi propaganda film in Paris has little to do with the original his film is called as an Italian-led war Enzo G. Castellari in 1978, Quel treno maledetto blindato, known in America as The Inglorious Bastards.

maledetto The train was a kind of copy twice, since the argument copied to The Dirty Dozen (Dirty Dozen) by Robert Aldrich while trying to play the style of Sam Peckinpah ultraviolence, especially interesting fact was taken into that by that time the U.S. director of The Wild Bunch and Pat Garrett & Billy the Kid just throw a fierce look at World War II Iron Cross (1977).

Indeed, someone called Castellari "The poor man's Peckinpah" ("A Peckinpah for the poor"), which does not mean that the Italian director has not had a long series of commercial successes distributed worldwide, including clones Shark Italic, Mad Max and several eurowesterns of post-classical era Sergio Leone. A strange detail is that Enzo G. Castellari is the pseudonym of Enzo Girolami, also nicknamed "Enzina" and formerly known by several aliases Anglo orders for international distribution, such as EG and Stephen M. Rowland Andrews.

The argument of the first Inglorious Bastards, ie the Italian Enzo G. Castellari (actually that of Tarantino's Basterds, with "e") telling the epic war criminals played by Bo Svenson, Peter Hooten, Michael Pergolani, Jackie Basehart and Fred Williamson, that being bombed his way to prison in a military prison, they decided to participate in a suicide mission against the Nazis.

The idea of \u200b\u200busing criminals as anti-heroes one end of a war film was not exactly new. Precisely this is where the resemblance goes Dirty Dozen by Robert Aldrich, derby introducing a high dose of cynicism to the epic ally, making psychopathic murderers, rapists and depraved of the worst type to fight the Nazis. The style of a great director as Aldrich, who had ventured into the war genre with cinematic masterpieces as war revisionist Attack (Attack), with impressive performances by Jack Palance and Lee Marvin had basically the same injustices and betrayals then described in Platoon by Oliver Stone, The Dirty Dozen was using a cast with no waste (Lee Marvin, Ernest Borgnine, Charles Bronson, Jim Brown, John Cassavetes, Richard Jaeckel, George Kennedy, Trini Lopez, Robert Ryan , Telly Savalas, Donald Sutherland, Clint Walker) to tell how this group of thugs could become a relentless strike force as saying the film's tagline, "a revolution in 1967:" The animals were trained, armed them, and released them to the Nazis! ".

The film was strong for his age. Jack Palance turned down the role of embodying Crazy ending Telly Savalas-ended paid by their peers-because they all seemed very violent, and the same Lee Marvin, who acknowledges having had a blast during the shoot, where it took several tons of explosives to demolish the castle that served as headquarters the Nazis, one of the largest sets in film history, "said in many reports that the movie was just" trash to make money ", which in effect made in bulk, making it the biggest commercial success Metro during its original release (probably Marvin rejection of the film can be justified given their own experiences as a soldier in the war, which he said he was much more closely later shown in The Big Red One of Sam Fuller).

Aldrich's film is based on a bestseller by EM Nathanson, inspired, as unbelievable as it sounds, a real group of paratroopers who participated in many battles of World War II, including D-Day essential "The 13 rusty" could be a faithful translation of the nickname that his comrades in arms were put to the 101st Airborne Paratroopers, "The Filthy Thirteen," which by a strange question fraternity ritual, or perhaps a rare case of collective allergy to soap, refused to wash or shave before a mission. They also cut their hair or makeup apache style, which served well for the purpose of war propaganda broadcasting on every occasion to present the images of these bullies as possible news.

In this sense, one can see a nod to Tarantino to the real story behind The Dirty Dozen, as Brad Pitt's character, that is the leader of the Basterds, nicknamed "El Apache" and asks his men to remove the scalp of all enemy casualties.

Aldrich's film caused some loose sequels produced for television, and is one of the greatest war films copied of all time. However, beyond its historical sources already mentioned, originality is debatable, since a previous low-budget film, directed by Roger Corman, he was overtaken on the subject. Stewart Granger, Mickey Rooney, Ed Byrnes, Henry Silva and Raf Vallone were some members of the Secret Invasion (The Secret Invasion, 1964). Corman said he knew the true story of a commando group that worked against the Nazis in Dubrovnik, Yugoslavia (one of the hardest countries opposed the German occupation), in a dentist's office, and became so interested to recreate those true facts as to bring the production to the actual locations, somewhat difficult given that the deployment of production was not the strongest of the independent enterprises astute editor of The Trip and The Man with X-ray eyes

Beyond the Corman film should be considered the first film genuinely dedicated to these groups of commands dirty, ruthless, heartless and as bad as their enemies Nazis, this would be a perfect description of lunatics Tarantino, grinding with a baseball bat to their enemies, they cut the scalp to the bodies and, if left alive, they make a swastika on the forehead with a knife, the sources can be traced even to the movies made during the course of the Second World War, as the half-forgotten Gung Ho: The Story of Carlson's Makin Island Raiders (Ray Enright, 1943) with Randolph Scott and a young Robert Mitchum killing Japanese left and right after a workout designed to convert human beings into beasts of battle.

In any case there are many very good films in the style started by Corman and continued by Aldrich. One of the best is unfortunately not the best known and remembered. In Play Dirty (The scum of the desert, 1968), the great André De Toth was leaving the cinema in a big way with the story of an oil executive forced to assume military front and lead a mission impossible in the territory German, Italian disguised as soldiers of the worst kind, equal to or worse than with the Axis troops who were on their way. The film confirmed the strange peculiarity that Michael Caine had been demonstrating since the start of his career in the epic masterpiece Zulu by Cy Enfield: it can be movie superstar without ever embody a hero or anything like it. Caine again demonstrate this in another excellent film from Aldrich in the style of his previous Dirty Dozen: In Too Late the Hero (So heroes are born, 1970) embodied as one British soldier as a coward like all their comrades who had any thing by not having to deal with the Japanese who dominated the half of their own island. The slogan of this jewel of Robert Aldrich said it all: "War ... it's a dying business "(" The war ... is a dying business. ")

No wonder this kind of cynical or ironic look at the war explode in worldwide box office since 1967 and the Dirty Dozen from Aldrich. Is that the war was not against the Nazis but against the Vietcong, and no longer knew who the bad. Or, rather, looks like it was known, and some bold film Hollywood directors like Robert Altman throwing darts at the military world as great as very black comedy MASH (1970), perhaps far more creative and critical acid anti-war in American cinema.

Since this type of cynical view one can understand the comic absurdity of war by small picture small picture painted in this original Quentin Tarantino Inglourious Basterds, strange, and very black comedy moments that a real war film. There is a racist view receives little attention in the film, which deals with Jewish ancestry Nazi command led by Brad Pitt, which uses techniques so brutal as to shock the Fuehrer himself. This view makes ideological Basterds can function as an excellent double feature if it appears next to the most serious and conventional Defiance (Defiance) Ed Zwyck with Daniel Craig commanding a group of Jewish partisans very bad temper that by no means be left lead to the gas chamber without liquidation few Nazis.

The mixture of black humor, even the ultra-violent war weather, counterculture ideology and make spaghetti western music in the end the main source of Tarantino's latest film is none of those mentioned but one of the best and most original titles throughout the films as actor Clint Eastwood. Kelly's Heroes (Spoils of the brave, Brian Hutton, 1970) showed a marginal group of soldiers (Eastwood, Telly Savalas, Donald Sutherland) who were in occupied Europe there with cowboy ponchos and had long hair hippies and the motto "massacre the Fuehrer's soldiers to steal their Nazi gold." Not for nothing between both Morricone theme that abounds in Inglourious Basterds (including a right moment to locate in The Battle of Algiers by Pontecorvo) also plays on a high point in history the great theme spaghetti composed by Lalo Schifrin war for him great booty of the brave, who now makes Tarantino look so serious and moderate as a chapter in the series Combat.

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JOURNALISM WORKSHOP 6

The 30-year Pedro Navaja:

And the gold tooth shine

By: Eloy Jáuregui Coronado
mambo_informa@yahoo.com

Those who make a holiday memory, recall that almost a third of a century Rubén Blades and Willie Colon Siembra recorded for the ISO of specialists, is the most important album in the history of salsa and the first to sell over a million copies in the U.S. The disc hit a different audience was looking for another lyrical themes and other characters. The idea was revolutionary and aspired to create a current that combined salsa the commercial and social commitment, malice and the neighborhood. So, the label has just reissued Emusica this production format collection of unreleased tracks that session. Pedro Navaja walk through the old neighborhood and will make history.

turned my steps toward a nearby cafe Insurance
find some warmth and music
walked my steps and I suddenly felt shivering
- No, I did not, the word went swiftly. Octavio Paz



Milan Kundera said that the creator of the modern age but not only was Descartes himself Miguel de Cervantes. Don Quixote is so, the novel of novels. Stories up to that then were in black and white. Cervantes put them are like Leonardo Da Vinci did the same with the great culinary renaissance in the time of the court of Ludovico Sforza consolidating the 'nouvelle cuisine', where the broth and banquet lacked salt, spices and flavor.



But who then opened contemporary music? Stravinsky or Miles Davis or Damaso Perez Prado. I do not think they were the Beatles or Tom Jobin, even Joan Manuel Serrat and tributes to Hernandez and Machado or the great Elvis Presley. Curious, that among contemporary popular music and life, a subject of verses 63 and lasts exactly 7 minutes and 21 seconds, change the DNA the joy and grant him mouth to mouth resuscitation to a genre that is penetrated by massive dangerously syndrome boring Alley ["letters or toilets?], for that matter. De Pedro Navaja, its importance and its revolutionary axis.

Yes, his name was Pedro Navaja, subject and object, and gave it life almost cloned into the sources of tastiness, Rubén Blades and Willie Colon. After 30 years, neither wanted to admit as was the delivery. Was a chronic police-style knife Crimson Corner Borges. Or perhaps, as the saga of Master Martin Scorsese. True, as once told, if Cain unwittingly impregnated chronicle red. Abel, knowing his brother was the great sacrifice for the public regozo. The Bible in his book Genesis, Chapter 4, Verse 8, detailing the crime and left for posterity the technical description of the murder, the first unhappy fratricide. The sacred red writing, as we saw in horror, then, is as old as man. Done well socially homo sapiens, born with it, homo asesinus and is reborn with the two, the homo croniquistus. So to this day. Well, in this poem metatext-soaked in the broth-violence falls Pedro Navaja, a story in the style of Mexican writer Sergio Gonzalez Rodriguez in his book Low Funds, the antrum, the bohemian coffee [Cal y Arena, Mexico 1984] where he bit into the false substrate positions tend to misrepresent the terms of a healthy tastefully installed in a megalopolis like Mexico City or New York the same .

In Blades's first album with Columbus, Putting Mano, two songs from Ruben: "Planting Inside" and "Pablo Pueblo", and dug with the scalpel of popular anthropology new languages \u200b\u200bof social context, where the sauce there was a little more than remote. But in following long duration, Siembra, which further extends the social vision of the so-called salsa. Thus Pedro Razor was the cornerstone more than a piece of the great Grail in this street-musical style, becoming one of the most representative of Latin American music, opening the doors of the 'salsa consciousness "the planet of all music. I said Sowing sold in less than two weeks over a million copies in the United States and Pedro Navaja was better known than the other bully desk, one Richard Nixon.



But the issue is in itself exceptional. His tone is sister and / or away from the old label-social-issue American writer in New York. Was not the anthropologist Oscar Lewis, the culture of poverty-author of the novel-Wall: Life [Puerto Ricans in San Juan to New York] who speaks of lumpen uprooting of Latinos in the U.S. North East and paint the mirror with rouge bloody poor survival of poor people in the metropolis of the first world. Remember Joe Cuba or Henry himself Fillol or patriarch Daniel Santos.

Pedro Navaja is a being from the suburbs, not the way to Tatán, rather in the best style of Buenos Aires Buenos Aires pimp forty [Discépolo would not have painted better]. A pimp loner, a "pachuco vivant 'in the current Mexican cinema of the fifties, that the winery that will flood the juices of Ninon Sevilla, María Antonieta Pons or Tongolele "But how beautiful and tasty Mexican dance the mambo" - Benny More, dixit --. Razor, is deliberately ambiguous history is not easy to determine where the dividing line between the paranoid imagination and the eruption of the supernatural. The thread that gives the text is probably in the imaginary neighborhood that does not refer to any particular man but what Poe called "the demon of perversity," that rogue stay on the conscience of every man. Pedro Navaja, it is a kind of philosophical thriller-tropical, it's the way gangsters in peace as in war [The first book of Cabrera Infante] and Cortázar Tracker. That is, investment of roles between the murderer and the victim, who at the time of the shootings appear to be the same person, presupposes the existence of a criminal identity interchangeably, a murderous spirit melts into one being to men and women of the same ilk.

Rubén Blades has always said when asked if music is used to change something. He says no, that in any case only serves to make us feel less alone, to survive the fears, doubts. So, I can assure that Blades would be the author of this sentence: "It tells what you see is what you live singing." A semiotic Pedro Navaja say that we are facing a language metasememe Romanzado: "Wear a hat half-brimmed La'o / and slippers if problem out vola'o, / sunglasses so they do not know what you're looking / and a gold tooth when he laughs is shining. / As three blocks that corner a woman / it moves through the entire sidewalk for the fifth time / and comes in a hallway and take a drink to forget / that the day is loose and there are no clients to work ... "

And

said Carlos Monsivais about Salsa, taste and control, the sociologist and musicologist Puerto Angel G. Quintero Rivera, son, salsa and, in general, Afro-Caribbean music are in its way, releasing factors, but no less joyful and horny. And certainly, in the early twentieth century popular culture was a nonexistent concept, something unthinkable and despicable in the event that someone would perceive. Now, at the beginning of the new century, popular, and especially music, are reviewed and acknowledged in an almost devotional. Otherwise it is understood as Blades studied at Harvard and the complexity of Caribbean music requires new Alejo Carpentier, Nicolas Guillen other, so translators and geography of popular resistance to the consumer industry. Thus, in terms of high culture and popular culture, there are no boundaries because there is no official moral and neighborhood-the sacred territory of the Community-joy, weaves Despite his brilliant speech of his fault or abuse proteins.

This grammar-tongue and lips, mustache, and pubic hair, the 'conjecture' is the most exciting ingredient erotic cadastre, Blades and Columbus know why his compositions are a poetic universe, regardless of subject matter, synthesized in one piece of the anger, tenderness, pride and hope, mediated by a peculiar sense of humor and joy below the waist of the dance. Besides the holistic approach in addressing various issues: love, nostalgia, play, party, food, sexuality, religion, violence and death, which already is sui generis, the lyrical son and the sauce is usually peppered with strange words to the logic of the English language. Eye

soneros, but it is true that the logic and salsa are not unique to the English language. She is the corpus of the corner of the street, so it is necessary to clarify some aspects of this language to better understand the strength of their expression and, in short, to enjoy and fully shake that music and its players. In hundreds of issues words like handsome salsa abound, men, cool, dame, mami, chicken, Bemba, brooch, fire, jicama, compay, vacilón ... words that sound strange to non-rockers soneros or window but those who love the philosophy of the pelvis or the metaphysics of cot [I mean salsa] represent a grammar induce rhythmic identification process immediately.



Like the tango, the letters of "Pedro Navaja", "Juan Pachanga" or "Johnny Vermin" propose a dialectic in which the musicians gather street slang expressions and other times, invented in his "inspirations" are taken by people. No subject is taboo if it is part of the experience of individuals. A good sonero includes in its stock phrases, sayings, expressions African letters well-known songs, tongue twisters, nonsense syllables, two-way set, boasting about guapería and romantic conquests, as well as statements about religion, superstition and complaints about the injustices of man with man and all that is can be identified as the meta brothel:

Read this and not otherwise, passes very slowly down the avenue, / no marks, but to 'know who is a policeman. / Pedro Navaja, his hands still in his coat , / looks and smiles and the gold tooth shines again. / While walking he looks from corner to corner, / do not see a soul, is deserted to'a Avenue / When suddenly this woman comes out of sago / y Pedro Navaja clenches his fist inside his coat. / Mira pa 'a La'o, look pa' the other and sees no one, / and the race, but without noise, cross the street. / And meanwhile on the other side is that woman / grumbling because did not make money to eat.

Pedro Navaja is a classic of our music heritage of this "other" within us. So always remember that interview in which Blades had that Carlos Fuentes once said he admired their ability to synthesize, because in a narrow time of seven minutes, he could develop a story that the Mexican writer would have taken their good years and thousand pages. And the Panamanian added: "If you analyze my work and compare it album by album, you'll see the painting of an urban reality, and that's a work in progress, but the parts that are more or less complete I have been cutting for assembly. Here you realize that "Juana Mayo" is connected to Pedro Navaja, and it has something to do with Carmelo Da Silva and Pablo Pueblo, somehow, has to do with Adam Garcia, and is connected to Cipriano Armenteros this one. It's like a job to put together. "



Finally, it is no coincidence that Ruben Blades have won a few years ago with a Grammy Award in the category World World Music and is no longer only that master of the sauce corner, do not forget that in 1987 Moon Water recorded in letters of Gabriel García Márquez. And today, it is not strange that Willie Colon is established as the great popular music that has taken advantage of different styles, genres and air of the symphonies of all street corners of the world that fundamentalism of flavor, you know that the sky is between the sidewalk and the heart. So ladies [if any] and gentlemen [if left]: "Life gives you surprises, surprises come life, Oh God! / As in a Kafka novel of the drunk turned down the alley. Happy 30 years Pedrito. There ma na ...!!! COPYRIGHT

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