Tarantino

When I was in high school and college, my world revolved around film. It was never referred to as movies, it was always "film" or "cinema." I worshipped directors like Kubrick, Truffaut, and Bergman. I wrote film reviews for my college newspaper and I served on the student programming board, on the film committee, of course. Nothing was more important to me.

As time went on, other things, such as making a living, getting married, and having a family slowly took over. I became less obsessed. I still enjoyed movies and reading film reviews, but had long since given up the fantasy of becoming a film critic. And every now and then, I would discover some new director who would so inflame my film passions that I became a total fanboy. In the 70's, it was Scorcese. In the late 80's/early 90's, it was Oliver Stone. And since the first time I saw "Pulp Fiction", it's been Quentin Tarantino.

There is really no director making films these days like Tarantino. People either worship him or despise him, but there is no denying his influence on modern-day cinema. A new Tarantino film is a cause for celebration, and each new film breaks different ground for the director. I don't believe I'm being a fanboy by saying he's the most exciting director out there these days.

The first real Tarantino film (despite the fact that he did not actually direct it) was "True Romance." A quirky, off-beat, brazen mix of romance, comedy, action and violence, "True Romance" boasted a then-unknown cast that reads like a Hollywood who's who: Brad Pitt, Val Kilmer, Dennis Hopper, Christopher Walken, James Gandolfini, Samuel L. Jackson, Gary Oldman and others valiantly support Christian Slater and Rosanna Arquette in the lead roles. The brilliant dialogue, never more incisive than in the classic scene between Hopper and Walken, bursts out like street poetry. Maybe Tarantino only wrote the screenplay, but his mark is all over this film.

Next came "Reservoir Dogs", a caper film unlike any other. It was Tarantino's first turn as director, and we never actually see the botched robbery, only the events leading up to it, and immediately after it. Such Tarantino staples as graphic violence and constant use of profanity were seamlessly woven into the fascinating story. And I shouldn't forget Tarantino's use of popular music, and not just on the soundtrack. No one who has ever seen this film can listen to the Steelers Wheel song "Stuck in the middle with You", and not think of this picture.

But it was his next film which really cemented Tarantino's position as an auteur and artist. That film, of course, was "Pulp Fiction". If "Citizen Kane" created the glossary of film-making, paving the way for everything that came after it, "Pulp Fiction" took it to a whole new level. I won't go into a description of the film itself, by this time, you've either seen it or not; you either love it or not. Suffice to say, it was the most exciting, original film to come out of Hollywood in many years.

Tarantino's next films, "Jackie Brown", the "Kill Bill" films, and "Grindhouse" were all fascinating, well-made films that towered above most of the other crap you could see at the multiplex. But as good as they were, they felt like "lesser Tarantino." They were certainly entertaining and a joy to watch, but they did not get the adrenaline flowing like his first three movies.

That all changed with the release of "Inglourious Basterds." Part war film, part ode to cinema, part revisionist history, the film is Tarantino's fantasy of how he would have ended World War II if he had been made God for a day. Like most Tarantino, the film is funny, engrossing, tense, absorbing, frightening, and violent. The acting is superb, especially the unknown German television actor, Christoph Waltz as the Jew-hunting Nazi, Hans Landa. The dialogue is superb, the tension in some of the scenes is unbearable. And the climax, in what is clearly an homage to Fritz Lang's "Metropolis" contains images which have stuck with me ever since I saw the film. This is probably Tarantino's most personal film, containing the themes and values which he undoubtedly holds dear. And it is simply unforgettable.

There are far too many schlockmeisters in Hollywood today, turning out dreck like "GI Joe." There are only a few true artists, who somehow have figured how to make personal visions in films that are nevertheless popular and successful. Tarantino is that rare film artist who does things his way, is true to his vision, yet never forgets that his primary purpose is to entertain. There is no one out there like him, and nobody makes films like he does. Like Orson Welles so many years before him, Tarantino is a true film genius. Don't miss his latest masterpiece.