When the expression "tarantinesco" has spread, it is that good old Quentin has at least left his mark, for better or for worse. Because there are those who only see him as disturbed (the appearances of the character do not help to consider the opposite) and others who see him as a mad genius. The question is yes kafkaesque has come to be adopted as a synecdoche of the surreal, Tarantinesco is associated with gratuitous violence charged with black humor.
If it were only a matter of violence, then maybe Tarantino would go unnoticed as a gore author. The point is to elevate the issue to the point of converting it into genius, dripping blood with excesses of another type and at least a consistent plot, usually dark in nature, well narrated. A story that, although it is consciously blurred at times, always points to that precise horizon of those who seek a beginning, development and ending with a twist.
Tarantino's takeoff came almost from his daring beginnings directing his own scripts. With "Reservoir Dogs" he already played it and everything he did afterwards has always been considered a masterpiece due to its unmistakable stamp from those first bars that awaken a disturbing morbidity that always plays in favor of the story told.
Top 3 Recommended Quentin Tarantino Movies
Pulp fiction
AVAILABLE ON ANY OF THESE PLATFORMS:Film that was already aiming for cult status as soon as it hit the big screen due to its inspiration in the hard-boiled subgenre of pulp literature. A psychedelic story in the underworld that recovered John Travolta for the cause of Hollywood stardom. No doubt because Travolta embellished it, but also because history itself immortalized it.
Jules and Vincent, two not-so-bright hit men, work for the gangster Marsellus Wallace. Vincent confesses to Jules that Marsellus has asked him to take care of Mia, his attractive wife. Jules recommends caution because it is very dangerous to go overboard with the boss's girlfriend. When it's time to go to work, both of you should get down to business. His mission: recover a mysterious briefcase.
What is fascinating is the game that gives such an apparently simple plot. And that's where the magic of this movie lies and the flamboyant display in Tarantino's direction. Because the plot is stretched in each scene, modifying the interest of the general development of events, towards intra-stories that lead us through vices, crime or any aspect in which Tarantino recreates himself to awaken changing, kaleidoscopic settings to structure himself in a rich general mosaic along the path of the film.
Damn bastards
AVAILABLE ON ANY OF THESE PLATFORMS:Making violence and blood morbidly adrenaline is something that Tarantino achieves with the ease of an expert surgeon working on a kidney transplant. The point is to then offer a consistent plot, a typical historical setting that he breaks down to present it to us as strange, deranged and hilarious at times. And then there is Brad Pitt with that darkened look, that beauty that stops being kind, like a complacent son-in-law, to immerse itself in the thousand-meter gaze that he had on soldiers traumatized in conflicts.
An undeniable spirit of revenge spread over history as a people in charge of justice against the genocide (something like Mussolini in the square in Milan, a film version). The point is that we do not think so badly the hunt for Nazis by which Brad Pitt and company lead us. We are even mildly pleased with the movie massacre and squint as Pitt points at the forehead of the wicked Nazis with his tongue out, like a child painting with watercolors.
Yes, it is a sinister film but it is also a great adventure film, and a good intra-period story in Hitler's Germany. Beyond Brad Pitt, we must point out the role of another actor such as Christoph Waltz, whom we all want to kill with our own hands ...
Django unchained
AVAILABLE ON ANY OF THESE PLATFORMS:The best justification for violence is revenge for injustice. Only in the case of Tarantino the matter takes on a Machiavellian point. An eye for an eye and a tooth for a tooth and a tip for some viscera for the harm of interest.
A western with Jamie Foxx, DiCaprio, Christoph Waltz…, a list of usual suspects, recurring heroes and antiheroes of Tarantino who already know what all that excessive violence is about. A film that also has some vindication, of relocating the seventies Blaxploitation movement in the middle of the Wild West.
The slave Django embarks on his particular odyssey for freedom. In a brutal world, more savage and hostile to the blacks of the southern United States, everything seems to lock up like a maze for survival. Racial revenge, shooting everywhere, the usual (that never tire) scenes loaded with Tarantinesque tension, with that chicha calm that precedes the storm.
In those scenes of eerie stillness where the freedom of the Negro is negotiated, the film is prolonged as it can only be done under the direction of Tarantino. With a mixture of anguish and morbid that predisposes us to admit violence as the only way out, an even pleasant way out as justice against the most ominous animosity.
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