On the QT
Trailer for Quentin Tarantino's latest, INGLORIOUS BASTERDS:
http://www.imdb.com/video/imdb/vi1210843929/
I remember Quentin, that overnight darling of the indie film world, an instant celebrity on the heels of 1994's PULP FICTION, a film that set some sort of filmic standard, as indicated by countless knock-offs and a whole generation of would-be hipsters attempting to ape the pop-culture-ultraviolent-sophistication. The price filmgoers have paid for PF is very high; films like LUCKY NUMBER SLEVIN are still being made nearly 15 years later.
Before PULP, Quentin made a smaller indie called RESERVIOR DOGS, both a shock of novelty and a refreshing dose of old time tough guy flicks. Latter day casting (along with Lawrence Tierney, star of many yesteryear potboilers) could've included Cagney, Marvin, Mitchum, Holden. After PULP, there was some indication that Quentin was ratcheting things down a bit with JACKIE BROWN. This film's slower pace and introspection was quite a difference from the explosive power of PULP. It took me a few viewings to accept and recognize how good it was. Perhaps the writer/director realized he had to branch out a bit.
But then, after years of embarrassing cameos and innactivity, he returned with KILL BILL, VOLS. 1 & 2. Part 1 was absolutely pornographic in its cartoonish violence. OK, I thought, he's indulging. Then, VOL 2 once again calmed things down. My favorite scene is near the end, when Beatrix, "The Bride" (Uma Thurman), has a through-the-door plea with her would-be assassin. After some gunfire, both remain standing and the assassin wishes the bride good luck after learning she is pregnant. An unexpected moment that again indicates that Quentin has some thought and heart at play. He wasn't merely showing off.
GRINDHOUSE followed in 2007. Another indulgence, actually two features (the first, PLANET TERROR, directed by QT pal Robert Rodriguez) strung together to recreate the sort of sleazy low budgeters seen in the 1970s in less than savory movie theaters. DEATH PROOF, Quentin's episode, was typical in its verbosity of pop nonsense and bursts of violence. Redeeming at all? Very debatable. Great stuntwork, no question. Still, it was ultimately a revenge picture that leaves you with something to think about, like many of the B-films to which he was paying homage.
INGLORIOUS BASTARDS was another such 70s pic. QT's remake (substituting the "e" for reasons that will be explained) looks to continue his fetishism, and I'm not sure if this film will rock solely for its vicarious thrills or if there will be some further evidence that Quentin is moving forward as a filmmaker. Stay tuned.
http://www.imdb.com/video/imdb/vi1210843929/
I remember Quentin, that overnight darling of the indie film world, an instant celebrity on the heels of 1994's PULP FICTION, a film that set some sort of filmic standard, as indicated by countless knock-offs and a whole generation of would-be hipsters attempting to ape the pop-culture-ultraviolent-sophistication. The price filmgoers have paid for PF is very high; films like LUCKY NUMBER SLEVIN are still being made nearly 15 years later.
Before PULP, Quentin made a smaller indie called RESERVIOR DOGS, both a shock of novelty and a refreshing dose of old time tough guy flicks. Latter day casting (along with Lawrence Tierney, star of many yesteryear potboilers) could've included Cagney, Marvin, Mitchum, Holden. After PULP, there was some indication that Quentin was ratcheting things down a bit with JACKIE BROWN. This film's slower pace and introspection was quite a difference from the explosive power of PULP. It took me a few viewings to accept and recognize how good it was. Perhaps the writer/director realized he had to branch out a bit.
But then, after years of embarrassing cameos and innactivity, he returned with KILL BILL, VOLS. 1 & 2. Part 1 was absolutely pornographic in its cartoonish violence. OK, I thought, he's indulging. Then, VOL 2 once again calmed things down. My favorite scene is near the end, when Beatrix, "The Bride" (Uma Thurman), has a through-the-door plea with her would-be assassin. After some gunfire, both remain standing and the assassin wishes the bride good luck after learning she is pregnant. An unexpected moment that again indicates that Quentin has some thought and heart at play. He wasn't merely showing off.
GRINDHOUSE followed in 2007. Another indulgence, actually two features (the first, PLANET TERROR, directed by QT pal Robert Rodriguez) strung together to recreate the sort of sleazy low budgeters seen in the 1970s in less than savory movie theaters. DEATH PROOF, Quentin's episode, was typical in its verbosity of pop nonsense and bursts of violence. Redeeming at all? Very debatable. Great stuntwork, no question. Still, it was ultimately a revenge picture that leaves you with something to think about, like many of the B-films to which he was paying homage.
INGLORIOUS BASTARDS was another such 70s pic. QT's remake (substituting the "e" for reasons that will be explained) looks to continue his fetishism, and I'm not sure if this film will rock solely for its vicarious thrills or if there will be some further evidence that Quentin is moving forward as a filmmaker. Stay tuned.
Comments
Great line! And very true.