"Do you know what they call a Quarter Pounder with Cheese in Europe?"
Ever since "Reservoir Dogs" was released in 1992, writer/director Quentin Tarantino has been a cinematic staple of the next generation. "Dogs" became a cult classic, now gawked over by millions of college "intellectuals."
Then came "Pulp Fiction," the source of the classic inquiry above. Perhaps the most influential film of the '90s, "Pulp Fiction" is a masterpiece: a rare combination of pitch-perfect screenwriting and flawlessly stylized directing. The mere fact that John Travolta was nominated for Best Actor is a compliment to Tarantino when considering how flat and boring his performance is opposite Sam Jackson and Uma Thurman.
The success of Tarantino's first two films echoed that of Spielberg, whose first two studio releases were cinematic classics ("Jaws" and "Close Encounters of the Third Kind"). Where Spielberg excelled in presenting grand ideas with human emotion in films like "Jurassic Park," Tarantino showed his range by taking small scenes and creating something much bigger through simple conversation.
What stemmed from his first two films was a slew of copycats. From well-made entertainment such as Guy Ritchie's "Snatch," to cult-infused silliness in the form of Troy Duffy's "The Boondock Saints," and all the way down to wannabe dog crap like Ronny Yu's "Formula 51" (why Sam Jackson, why?), a new genre of "cool" movies was formed. Only a select few of these films can be accredited for starting a genre.
That being said, what happened since those first two films? Tarantino wrote "From Dusk Til Dawn," a stupid piece of exploitative horror that was meant to pay homage to past exploitative horror movies past. Then there was "Jackie Brown," which served as Tarantino's last truly original idea. With Robert De Niro eating up screen time as hit man Louis, and Pam Grier kicking ass as the super cool Jackie Brown. The film never gets as comfortable as "Dogs" or "Fiction," but comes very close.
What followed was nearly a decade-long directing hiatus, forcing Tarantino junkies to dig their noses deeper into past films and find other movies which he made contributions to. Case in point, Tony Scott's "True Romance" and Oliver Stone's "Natural Born Killers." Tarantino sold the two screenplays (Stone apparently butchered "Killers") to get enough money to make "Reservoir Dogs." "True Romance" was even sold as a "Tarantino movie," even though Scott's direction turns it into a two-hour adrenaline fused action movie.
Finally, there was "Kill Bill." At first, it was one long epic. Tarantino split it down the middle, creating "Volume 1" and "Volume 2." All things considered, "Volume 1" was very entertaining. It had great action scenes and some very funny, over the top violence. But none of this could detract over the gimmicky feel of it all. Tarantino paid much homage to Kung Fu B-movies (hence Kung B-movie legend Sonny Chiba's cameo in the "Bill" films). So what?
That doesn't make it okay that "Kill Bill Volume 1" has a plot about as deep a romance novel and dialogue so silly that it almost insults the style of Tarantino's previous works of art. Uma Thurman delivers every line with such a pompous "this is a Quentin Tarantino movie" tone that it's laughable.
What happened to the simple Tarantino of old? Sure, in "Pulp Fiction" violence was graphic and unpredictable, but at least it contributed to the plot. In "Volume 1" it's like he's reaching for something to make his audience ogle at. Perhaps he forgot that his audience ogled at the story behind "Reservoir Dogs," not just the shock value.
Luckily, "Kill Bill Vol. 2" redeemed "Volume 1." Almost. Bill (David Carradine) delivers perhaps one of Tarantino's best-written monologues at the film's climax, discussing the psychology of Superman. Yet still, the film feels forced and uncomfortable. It's not a Tarantino film, but rather a homage film that Quentin Tarantino directed. At certain moments, such as the Superman speech, we are reminded of the beauty of Tarantino's imagination. Unfortunately, as we watch crazy mustache man Pai Mei beat the hell out of Uma Thurman, we long for simplicity.
On April 4, Robert Rodriguez, who had Tarantino direct a few action scenes in "Sin City," will collaborate with Tarantino on "Grindhouse," a double feature tribute to the exploitative, unrated Grindhouse films of the '70s. Oh good, another homage. Great. I'm sure it will be entertaining and I'm sure I'll walk out of the theatre laughing about how ridiculous it all was. But I would want more. Was "Pulp Fiction" the pinnacle of a career now fueled by old movies, rather than brand new ideas?
For the love of Vincent Vega I hope not. It seems Tarantino forgot what they call a Quarter Pounder in Europe, or what Madonna's "Like a Virgin" really means. If only Tarantino could remember what made him great, and stop worrying about how many times he can cut off his character's limbs, call it art, and get away with continually mocking himself.
Photo: Courtesy of Laron Fomby
