Post by Boz on Jan 26, 2007 1:33:25 GMT
Reservoir Dogs
Directed by Quentin Tarantino
1992 US
"Are you gonna bark all day, little doggy, or are you gonna bite?"
Six strangers are assembled by a crime boss for the perfect robbery, but there's an undercover cop in their midst, and not everyone's going to get out alive.
Quentin Tarantino burst onto the scene at the 1992 Sundance Film Festival with a unique little gem of a film that would at least, in part, go on to revolutionize and define much of the cinema of the ensuing decade. It’s interesting to try to contemplate for a moment, the cinematic world that this Manhattan Beach video store clerk and his film entered into, a world devoid of Tarantino-esque, Generation X films, and similar attitudes throughout nearly all facets of American (and in some cases foreign) pop cultures and media. And to think Reservoir Dogs’ rippling implications were only a precursor to the effects that Tarantino’s trademark film Pulp Fiction would have two years later.
This role of fundamentally defining a generation of American males is an interesting way in which to look at this film as a whole. Note that despite the fact that Dogs’ reputation would go down as a blood-soaked, foul-mouthed, testosterone-overflowing epic of violence, in the first few scenes, we not only see hardened criminals discussing which Madonna albums they do and don’t like, but that’s then immediately followed by two of these same men panicking, crying, caring for one another, cradling each other almost on the floor of a warehouse for ten minutes, their insecurities and weaknesses on full display. Yes, it helps to mention that one of them has a bullet in their stomach, but considering these scenes against the film’s lasting reputation is an interesting exercise nonetheless.
Tarantino’s films are perhaps so memorable and effective because they not only openly homage and copy other films, but they then proceed to attack and alter many of their character stereotypes. There’s a key line at about the half-way point where Mr. Pink says “Let’s try to figure out who the bad guy is here, alright?” Although this is just a plot-driving piece of dialogue, it effectively can be used to represent Tarantino’s method of filmmaking as a whole. Whether it be this film, Pulp Fiction, Jackie Brown, or the Kill Bills, all of Quentin’s films seem to take the common bad guys from most movies, give them a sense of humor, attach some catchy music, and have them talk about everyday things. Although he’s clearly not the first to do it, Tarantino is quite efficient at fleshing out these bank robbers, hitmen, drug dealers, and gun runners and making them likeable.
The color-coded characters here all display somewhat similar personalities, with facets that would come to be ingrained into the males of Generation X en masse; masculine rivalry, homophobia, comical racism, disillusionment with much of society, distrust for authority, casual drug use, and a healthy penchant for violence. The oft-imitated, slang-filled dialogue treads the line between flavorfully authentic at times, and clichéd and cheesy at others, perhaps reflecting Tarantino’s love for the old-fashioned John Wayne western (Rio Bravo is reportedly one of his favorite movies).
Ultimately, the film is worth a serious viewing for no other reason more than the fact that it’s exhilarating to see the rookie effort from someone who, for a long time, was in a similar position to many including myself; that of the cinema-obsessed, prospective directing hopeful. Hell, maybe I can reference Tarantino in one of my films one day.
CREDITS
Director[/b]
Quentin Tarantino
Producer
Lawrence Bender
Writers
Quentin Tarantino
Cinematographer
Andrzej Sekula
Editor
Sally Menke
Production Designer
David Wasco
CAST
Harvey Keitel
Mr. White
Tim Roth
Mr. Orange
Michael Madsen
Mr. Blonde
Steve Buscemi
Mr. Pink
Chris Penn
Nice Guy Eddie
Lawrence Tierney
Joe Cabot
Eddie Bunker
Mr. Blue
Quentin Tarantino
Mr. Brown[/size]
Directed by Quentin Tarantino
1992 US
"Are you gonna bark all day, little doggy, or are you gonna bite?"
Six strangers are assembled by a crime boss for the perfect robbery, but there's an undercover cop in their midst, and not everyone's going to get out alive.
Quentin Tarantino burst onto the scene at the 1992 Sundance Film Festival with a unique little gem of a film that would at least, in part, go on to revolutionize and define much of the cinema of the ensuing decade. It’s interesting to try to contemplate for a moment, the cinematic world that this Manhattan Beach video store clerk and his film entered into, a world devoid of Tarantino-esque, Generation X films, and similar attitudes throughout nearly all facets of American (and in some cases foreign) pop cultures and media. And to think Reservoir Dogs’ rippling implications were only a precursor to the effects that Tarantino’s trademark film Pulp Fiction would have two years later.
This role of fundamentally defining a generation of American males is an interesting way in which to look at this film as a whole. Note that despite the fact that Dogs’ reputation would go down as a blood-soaked, foul-mouthed, testosterone-overflowing epic of violence, in the first few scenes, we not only see hardened criminals discussing which Madonna albums they do and don’t like, but that’s then immediately followed by two of these same men panicking, crying, caring for one another, cradling each other almost on the floor of a warehouse for ten minutes, their insecurities and weaknesses on full display. Yes, it helps to mention that one of them has a bullet in their stomach, but considering these scenes against the film’s lasting reputation is an interesting exercise nonetheless.
Tarantino’s films are perhaps so memorable and effective because they not only openly homage and copy other films, but they then proceed to attack and alter many of their character stereotypes. There’s a key line at about the half-way point where Mr. Pink says “Let’s try to figure out who the bad guy is here, alright?” Although this is just a plot-driving piece of dialogue, it effectively can be used to represent Tarantino’s method of filmmaking as a whole. Whether it be this film, Pulp Fiction, Jackie Brown, or the Kill Bills, all of Quentin’s films seem to take the common bad guys from most movies, give them a sense of humor, attach some catchy music, and have them talk about everyday things. Although he’s clearly not the first to do it, Tarantino is quite efficient at fleshing out these bank robbers, hitmen, drug dealers, and gun runners and making them likeable.
The color-coded characters here all display somewhat similar personalities, with facets that would come to be ingrained into the males of Generation X en masse; masculine rivalry, homophobia, comical racism, disillusionment with much of society, distrust for authority, casual drug use, and a healthy penchant for violence. The oft-imitated, slang-filled dialogue treads the line between flavorfully authentic at times, and clichéd and cheesy at others, perhaps reflecting Tarantino’s love for the old-fashioned John Wayne western (Rio Bravo is reportedly one of his favorite movies).
Ultimately, the film is worth a serious viewing for no other reason more than the fact that it’s exhilarating to see the rookie effort from someone who, for a long time, was in a similar position to many including myself; that of the cinema-obsessed, prospective directing hopeful. Hell, maybe I can reference Tarantino in one of my films one day.
CREDITS
Director[/b]
Quentin Tarantino
Producer
Lawrence Bender
Writers
Quentin Tarantino
Cinematographer
Andrzej Sekula
Editor
Sally Menke
Production Designer
David Wasco
CAST
Harvey Keitel
Mr. White
Tim Roth
Mr. Orange
Michael Madsen
Mr. Blonde
Steve Buscemi
Mr. Pink
Chris Penn
Nice Guy Eddie
Lawrence Tierney
Joe Cabot
Eddie Bunker
Mr. Blue
Quentin Tarantino
Mr. Brown[/size]