About halfway through The Hateful Eight, bounty hunter John Ruth is starting to worry that the people at Minnie’s Haberdashery aren’t who they say they are, or at least “one of them fellas (meaning Bob or Joe or Oswaldo or Chris) is not what he says he is.” John Ruth and Major Marquis Warren (and for that matter everyone at Minnie’s) will soon learn the hard way that these suspicions are well founded; but at this point in the story, John Ruth might just be imagining things, so Major Warren asks:
Are you sure you’re not just being paranoid?
The rest of the dialogue in this scene was lost on me, because I was taken out of the film and left wondering how or why Tarantino (and, for that matter, all the people who read the screenplay for Hateful Eight) had let this glaring anachronism stand.
The first known use of “paranoid,” according to Merriam Webster, is 1904, probably in connection with the introduction of paranoia as a clinical variety of dementia praecox by the German psychiatrist Emil Kraepelin; the screenplay sets the action of The Hateful Eight “six or eight or twelve years after the Civil War,” roughly in the 1870s. The term paranoia was around before Kraepelin, having been first introduced into English in 1857, but it didn’t come into use among English-language medical writers until the 1890s, and even then, the word in this more pristine form would not have been available except to medical specialists.
Major Warren’s casual and colloquial use of “paranoid” might have been possible as early as the 1950s, when psychoanalytic parlance became more widespread. I suspect the actual provenance of the Major’s “being paranoid” lies somewhere in the haze of late 60s and early 70s drug culture, a full century after the action of The Hateful Eight. Or maybe even later than that: “Almost Cut My Hair,” recorded in 1970, opts for “increases my paranoia” — casting paranoia as a constant affliction of varying intensity — as opposed to the Major’s use of the present continuous “being paranoid,” which suggests only a momentary lapse.
Not that Tarantino is trying, at all, to be strict about these things. His story might be set in the nineteenth century but his characters belong to the twenty first, and this is hardly the only anachronism in the language of the screenplay. (To take just one instance, O.B. proposes that he and Chris set out a line to the outhouse, because no matter how bad the blizzard gets, the people gathered at Minnie’s will have to “take a squat from time to time.”) To characterize these as slips or oversights — like the anachronisms I wrote about in the Coen Brothers’ Inside Llewyn Davis — would be to miss the ways in which Tarantino is playing self-consciously with anachronism throughout The Hateful Eight, from the opening Sergio Leone Close Up of the snow-covered crucifix to the mix of Ennio Morricone with Roy Orbison. We’re invited at nearly every turn to appreciate this directorial self-consciousness and to revel in this film’s constant references to other films, other stories and other times.
What strikes me about “being paranoid,” however, is how telling it is. The Hateful Eight presents a world in which everything (proper names, stories, letters, a song, coffee, the stew, the table, the floor, a peppermint stick, the gang in Red Rock, history itself) is contrivance. The most brutal, bloody violence is conventional and contrived, and artifice will either kill you or put you at risk of death. Even the act of dying can be wildly theatrical (like the deaths of John Smithers, John Ruth and Daisy Domergue) or one final act of deception, and there is no way out of deceit and contrivance except death. So it’s only fitting that Chris and Major Warren die together at the end of the film sharing and appreciating the finer points of Major Warren’s forgery. This is a world in which everyone is always plotting and everything is a plot. You’d be crazy not to be paranoid.