Others (Empire included) speculated long into the night over how Nice Guy Eddie met his demise. Similarities with Kubrick's The Killing and more pertinently Ringo Lam's City On Fire were pointed out. It's not every debutante who has the cojones to aspire to auteur status and because of this (and the film's success) the Tarantino backlash arrived rapidly in the wake of the movie's acclaim. Blue - such a spare part he should have been sponsored by Lucas) enjoys their time in the sun. Primarily, this is down to the virtues of that script, packed with zinging one-liners and meaty speeches of the kind every aspiring thesp would kill to give. In Reservoir Dogs, Tarantino assembles a cast of more widely mixed ability than the average comprehensive Year Eight, ranging from the acknowledged master (Keitel), through the talented youngsters (Buscemi and Roth) to the fairly abject (Madsen and, ahem, himself), but still draws compulsive performances from all. It's one thing, however, to aspire to be an auteur, quite another to achieve it. Not to mention the cameo performance of which he's become so fond. Blonde's real name, Toothpick Vic Vega (see Pulp Fiction's Vincent), Blonde's unseen parole officer being called Scagnetti (a name Tarantino has worked into every one of his screenplays to date). White's former partner, Alabama (see True Romance) Mr. Aside from the-inclusion of the ubiquitous pop culture discussions (Get Christie Love, The Night The Lights Went Out In Georgia) these would include a raft of self-referential allusions. Not only did this enable him to hone his writing skills, but the flourishes necessary for auteur status were already coming together nicely. It helped, of course, that although Reservoir Dogs was Tarantino's directorial debut, he had already written screenplays for True Romance (1993) and Natural Born Killers (1994). Pink's, "world's smallest violin" paean to non-tipping. And so it's no accident that our introduction to the diamond heist via Tim Roth making a mess of the upholstery doesn't arrive until after Mr. What really interests him is finding opportunities for dialogue diversions. It's almost as if he employs the flashback, "answers first, questions later" narrative structure to give himself a challenge. Simply to tell the story of a heist gone wrong would seem to have held little appeal to a writer as visually literate and soaked in film culture as Tarantino. And what he meant to go on to be is evident from the opening shots of the movie: an auteur, no less. With Reservoir Dogs, Quentin Tarantino started as he meant to go on. But above all, debuts in the crime genre are not meant to begin with an in-depth exposition of the lyrics to a Madonna song followed by a discussion on the ethics of paying gratuities and the problems experienced by women working on minimum wage. Debuts are either meant to be second spear-carrier minimalist or so cringingly inept that they find themselves in a side-splitting edition of Before They Were Famous.ĭebuts are not meant to capture all the plaudits at Sundance before storming to cult status around the world and igniting a forest fire of newsprint in an endless debate about the morality of screen violence.įew debuts - with the possible exceptions of The Clash's first album and The Marriage Feast at Cana - have been so widely admired.
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