Pulp Fiction Trends on Twitter

Sunday night, Pulp Fiction was playing on HBO Signature, and enough folks were tweeting about it that it became a trending topic at Twitter.  I retweeted a bunch of the comments that people were making.  I was surprised at both the number of tweets and the percentage that had not seen the film before.

Hard to believe Pulp Fiction is old enough that the generation of kids in high school and college now were babies when it was released in theaters.

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.