8 Natural Born KillersLike matching outfits for pop bands, the influence of Quentin Tarantino didn’t make it very far into the new century. Even still, True Romance retains a strong cult following. Despite meeting overwhelmingly positive critical reviews, the film was considered a box office failure that ended up losing money for the studio. The writing was praised by many critics as a great followup to his directorial debut, Reservoir Dogs.
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“How’d you come to write this script? Did you live in a tough-guy neighborhood growing up? Was anybody in your family connected with tough guys?” Keitel asked. This was a myth partly abetted by the director himself, who often told the story of going to Harvey Keitel’s house to discuss the “Reservoir Dogs” script. One, that his work was ultraviolent, and, two, that it was about nothing more than its own movieishness, with no connection to the real world.
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You’re never antsy to get back to the warehouse. The first thing to strike a contemporary viewer of “Reservoir Dogs,” of course, is how comparatively nonviolent it is—we see a couple of shootouts, a carjacking, and a cop being beaten up, but nothing that you wouldn’t see today on an episode of “24.” To those coming to the film from the freewheeling mayhem of the director’s later work, it’s a remarkably disciplined feat of storytelling, featuring just as many departures from chronology as, say, “Pulp Fiction”—its structure is a nautilus-like series of boxed flashbacks, telling each character’s story in turn—but the flashbacks never feel like flashbacks. Nothing dates faster than “realism,” and today’s “excessive violence” is tomorrow’s cinematic aperitif. And Tarantino said, “I watch movies.”Both of these metrics—how violent and how realistic a film is judged to be—are volatile commodities on the film-historical stock exchange.
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Tarantino said that the sequence was his favorite thing in the entire film.NICE GUY EDDIE: Remember that TV show “Get Christie Love”. Going about its midmorning business: birds, children playing. Blonde interrupts his torture of the cop to fetch some gasoline from the trunk of his car, he is followed by a Steadicam, and, as the sound of Stealers Wheel’s “Stuck in the Middle with You” retreats on the soundtrack, it is replaced by the soporific sounds of suburban L.A. For all its confinement to that warehouse, you never forget the city outside its door. “Reservoir Dogs,” shot in just under five weeks—thirty days—in the summer of 1991, beneath lights so bright that the fake blood dried to the floor, is much more of a hood movie than you probably remember. Movie—only at the intersections of Glendale would it be apropos for Butch (Bruce Willis) to run into Marsellus Wallace (Ving Rhames) while stopped at a red light—but his first three movies are all equally rooted in the nondescript environs of downtown Los Angeles: “Jackie Brown” in the depressing sprawl of ticky-tacky tract houses, strip joints, and malls near LAX, “Reservoir Dogs” in the coffee shops and diners of Highland Park, and the funeral home in Burbank that doubled as the gang’s rendezvous point.
Pam Grier was the other one. ORANGE: No, it wasn’t Pam Grier. PINK: What was the name of the chick who played Christie Love?MR.
Never mind that Tarantino’s original intent was straightforward realism. Yippee-ki-yay, motherfucker!”—the best line of Tarantino dialogue not actually written by Tarantino.Tarantino’s influence became so wide that it influences the very notion of influence: what had hitherto been an unconscious borrowing or homage was now flushed out into the open and worn as a badge of one’s pop-cultural savvy—intertextuality hits the multiplex. (“I never heard him say anything really funny.”) Just a year earlier, in “Die Hard,” Alan Rickman’s Hans Gruber taunts John McClane (Bruce Willis), “Another orphan of a bankrupt culture who thinks he’s John Wayne? Rambo?” To which McClane replies, “I was always kinda partial to Roy Rogers actually. On “Seinfeld,” by 1990, Jerry and George could be heard debating whether Superman had a sense of humor or not. By the late eighties, thanks to the ubiquity of the home-entertainment revolution that had first given employment to Tarantino and his buddies at Video Archives, pop culture had attained such critical mass that it was beginning to show up on its own radar. Now I’m totally fuckin’ tortured.The idea of pop-culture-literate characters is now so ubiquitous that when the prison inmates of this summer’s “ Logan Lucky” pause in the middle of a riot to discuss “Games of Thrones,” we barely blink.
“This is the movie-movie universe, where movie conventions are embraced, almost fetishized,” the director said. They ask, What if a thriller or a heist movie or a cop movie happened, but its participants were too dozy to notice?You have only to look at the “Kill Bill” films, from 20, in which blood the color of raspberries spurts comically from the stumps of severed arms and torsos, and B-movie storm clouds hurl B-movie rain, to realize just how much more rooted in reality—in the locales and linguistic idioms of Tarantino’s immediate neighborhood—his first films are. His first three films are black comedies that drop movieish happenings—a heist, a kidnapping, an overdose—into the laps of characters who freak out, panic, squabble, lose their car in the parking lot, or miss out on the action entirely because they are on the john. We talk about bullshit.” The gang members in “Reservoir Dogs” talk about Pam Grier and Silver Surfer comics and Madonna lyrics not because Tarantino wanted movie characters who sounded like him and his friends. “We talk all around things. “Most of us don’t talk about the plot in our lives,” he noted.
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