Introducing Tarantino Films To Friends

Interesting thread started over on Reddit about what order you’d have your frind watch Tarantino’s films if they had never seen one before. 

Consensus seems to be Pulp Fiction first, and Death Proof last – which I agree with.  Love the irony that most everybody would introduce his films out of order considering that out of order film sequencing is the single most identifying trait of a Tarantino film

Even though he only wrote it, I’d also throw True Romance into the first half of his films. Its a great story and very much feels like a Tarantino film even though he didnt direct it.

Death Proof Helps Chartreuse Gain Popularity

A Tarantino line about liquor from Death Proof seems to have kick-started the popularity of Chartreuse.

The drink also benefited from a throw-away line of a bar banter in Quentin Tarantino’s 2007 thriller, “Death Proof.”

Playing the role of a barman in his own film, the director gives a round of Chartreuse shots to a well-oiled group.

When asked what they are drinking, Tarantino replies: “Chartreuse. The only liquor so good they named a colour after it.”

“Tarantino’s film created an incredible buzz,” he says, noting that workers had been putting in extra hours to bottle as much of the green stuff as possible.

Quentin Tarantino’s Inglourious Basterds: A Manipulation of Metacinema

Coming in 2012, a new book called Quentin Tarantino’s Inglourious Basterds: A Manipulation of Metacinema. Here’s the description:

This provocative and unique anthology analyzes Quentin Tarantino’s controversial Inglourious Basterds in the contexts of cinema, cultural, gender, and historical studies. The film and its ideology is dissected by a range of scholars and writers who take on the director’s manipulation of metacinema, Nazisploitation, ethnic stereotyping, gender roles, allohistoricism, geopolitics, philosophy, language, and memory.

In this collection, the eroticism of the club-swinging and avenging “Bear Jew,” the dashed heroism of the “role-playing” French and German females, the patriotic fools and pawns, the amoral yokel, Lieutenant Aldo Raine, and the cosmopolitan, but psychopathic Colonel Landa, are understood for their true functions in what has become an iconoclastic pop-culture phenomenon and one of the classics of early twenty-first century American cinema. Additionally, the book examines the use of “foreign” languages (subverting English and image), the allegory of Austria’s identity in the war, and the particularly French and German cinematic influences, such as R. W. Fassbinder’s realignment of the German woman’s film and the iconic image of the German film star in Inglourious Basterds.

Sometimes I wonder whether the analysis of films and books like this is way more detailed than anything the author/writer ever contemplated when they created the book or film.

Django Unchained Versus Kindred

The Root has a review of the Django Unchained script by way of comparing it to the Octavia Butler novel Kindred. Kindred is written by a black woman, and uses science fiction to yank a modern day black woman back to the time of slavery.

If Butler uses a familiar genre, science fiction, to introduce readers to the unfamiliar horrors of slavery, then Tarantino plans to use the spaghetti Western to that same end. It’s a genre that audiences know: The good guy, all in white, saves a damsel in distress from the bad guy, all in black. The twist is, it’s the black guy, a former slave, who saves the day in what Tarantino has described as a “Southern,” a Western set in the antebellum Deep South.

“I want to do movies that deal with America’s horrible past, with slavery and stuff, but do them like spaghetti Westerns, not like big-issue movies. I want to do them like they’re genre films, but they deal with everything that America has never dealt with because it’s ashamed of it,” explained Tarantino in a 2007 interview with the Daily Telegraph.

As I was reading their breakdown of Kindred before they got to the details on Django Unchained, I didn’t think they’d like Django. But, I was wrong.

What I didn’t expect was that the script for Django would be as good as it is. It reads like a traditional Western, with all the expert gunslinging and professional killing that goes along with the genre.

If that sounds violent, it’s because it should. What’s more violent than slavery? What’s a better backdrop for the ills of a torturous institution that affected everyone it touched for the worse?

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