The enfant terrible of American cinema, director adored the world over, ultra-referenced filmmaker, Quentin Tarantino films revenge and violence like no one else. On the occasion of the release of Pulp Fiction in collector’s version, a look back at a short but intense filmography.
Reservoir Dogs (1992)
First screenwriter, Quentin Tarantino arrived like a dog in a game of skittles in the world of filmmaking, overturning all the codes to impose from his first feature, an inimitable style and yet so often (and badly) imitated. Here, the mobsters talk about life, music and death and an original soundtrack juke boxbefore violence resumed. Reservoir Dogs, which has since become cult, recounts the misadventures of eight thugs with pseudonyms borrowed from colors. We find there Harvey KeitelTim Roth, Michael Madsen or Steve Buscemi, Tarantino’s first male muses and first victims of bloody score settling.
pulp Fiction (1994)
Second film and masterstroke, pulp Fiction recounts the crossed destinies of several thugs (a leitmotif). Here we kill by quoting the Bible and eating Big Macs, there we give a rigged boxing match, there again, we jerk and overdose… John Travoltaresurrected from oblivion where he was confined, Uma Thurman, future Tarantinian muse, Samuel L.Jackson(of almost all of the director’s projects) and Bruce Willis as a tired hero, are in the game. pulp Fiction is a total film, a cinematic experience by a cinephile who places a number of references between two murder scenes. The film won the Palme d’or, the Oscar for best screenplay and grossed over $100 million in the United States alone. A success that will never leave Tarantino, whose irreverent arrogance then dynamites the compartmentalized world of Hollywood.
Jackie Brown (1997)
After pulp FictionQuentin Tarantino embarks on a new river film that pays homage to the Blacksploitation from the seventies. Jackie Brown places a heroine at the center of its story for the first time, here an air hostess who is also a courier for an arms trafficker. Obviously, it will turn out very badly… Around Pam Grier, ex-star of African-American films, a host of stars, including Robert DeNiro, Michael Keaton and Bridget Fonda. And once again, dialogues elevated to the rank of art. The Tarantino formula is in full swing.
Kill Bill: Volume 1 and 2 (2003 and 2004)
From the start, Quentin Tarantino has insisted that he will only shoot ten films, not one more, before retiring. He fakes his accounts by considering the two volumes of Kill Bill, released a year apart, as one and the same film. A diptych that pays homage to Bruce Lee, in which The Bride, alias Uma Thurman, seeks revenge on those who left her for dead on her wedding day. She’s not going to do things by halves. If the first part is bloody at will with an incalculable number of limbs cut with a saber, the second is more introspective, but still with its share of hemoglobin. Phew!
Boulevard of Death (2007)
With his sidekick Robert Rodriguez, Quentin Tarantino designs the program Grindhouse, or the quasi-simultaneous release of two deceptively B (or even Z) films turned towards horror. It will be Planet Terror for Rodríguez and Boulevard of Death for Tarantino. A new tribute to cinema bis, with car stunts and a female cast that seeks revenge (once again) on Kurt Russell, an implacable macho killer whose Chevrolet is a death machine. The film is thus cut in two (like the main protagonists of the first part), between long dialogue scenes and frenzied chases.
Inglourious Basterds (2009)
Tarantino pursues his passion for female revenge through the character of Shosanna, a young Jewess played by our national Mélanie Laurent. His goal: to eliminate Hitler, no more and no less. At the same time, others have the same idea, such as the commando carried by brad pitt. Inglourious Basterds is a film of noise and Führer in which the director allows himself to distort History as he pleases, between humorous scenes and others much more twisted and violent. Above all, it reveals the talent of Christoph WaltzOscar winner for his performance as a sadistic Nazi.
Django Unchained (2012)
Revenge is eaten this time in the masculine in Django Unchained, Tarantino’s biggest box office hit to date with over $425 million. A pamphlet against racism and the slave years of the United States through the portrait of a freed slave (Jamie Foxx) by a bounty hunter (Christoph Waltz, once again Oscar winner) and who will try to eliminate a plantation owner, violent towards his African-American slaves. Leonardo DiCaprio portrays an exceptional first villain who deserves the fire that will fall on him.
The Dirty Eight (2015)
As the title suggests, there is not one to redeem the other. New Western set shortly after the Civil War as Django Unchained, The Dirty Eight is a diabolical camera that was originally intended to be a play. To music by Ennio Morricone, eight crooks of the worst kind (even those who are supposed to be on the side of good) find themselves locked up in an inn during a snowstorm. Not sure if they all survive, especially with gunslingers or poison aces like Samuel L. Jackson, Tim Roth, Kurt Russell and Jennifer Jason Leigh, female surety who reserves them more than one trick (hangable).
Once Upon a Time… in Hollywood (2019)
Quentin Tarantino is once again playing with history, transforming one of the news items that has made the most headlines in the United States (the murder of Sharon Tate by the sect of Charles Manson). He makes it a declaration of love to the cinema of his childhood, through two magnificent antiheroes, an actor whose period of glory has passed, Leonardo DiCaprioand his stunt double, Brad Pitt. Once Upon a Time… in Hollywood is a sweet chronicle of a blessed and bygone era, corrupted by violence and inevitable decline.
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The so pulp cinema of Quentin Tarantino – L’Éclaireur Fnac