Quentin Tarantino is to cinema what Miles Davis is to jazz – the “King of Cool.” With his movies “Reservoir Dogs” and “Pulp Fiction,” Tarantino effectively reinvented cinema in the mid-1990s, setting unprecedented stylistic standards. His movies burst with cool dialogue and exaggerated violence and turned the former video store clerk into one of the most important living Hollywood directors ever.
In addition, as a screenwriter, he was responsible for the script of “True Romance” and wrote the plot for Oliver Stone’s “Natural Born Killers” – both films are also true milestones of 90s cinema. However, Tarantino’s work as a whole is still viewed critically. The accusation that the director has not yet made a film of his own, but has always chosen only the best from all his favorite films, is still around today. In this article, we want to take a look at the best Quentin Tarantino that you should watch before you die!
https://www.youtube.com/watch?v=HlAECQzTkfY
After the global success of “Pulp Fiction”, everybody in Hollywood was lining up to become part of the Tarantino cosmos. However, he took three years and finally decided to film a novel, Elmore Leonard’s “Rum Punch”, for the first and only time in his career. He slowed down his storytelling to an extraordinary degree and created “Jackie Brown,” which is an elegiac story about growing older, of dreams and new beginnings.
This time Tarantino’s “digs” included former blaxploitation star Pam “Foxy Brown” Grier, then 48, and Robert Forster, at the time 56, who had never been a star but had stolen everyone’s thunder in “The Black Hole” as well as “Delta Force,” one time as a sci-fi hero, another as an Arab terrorist. The fact that Tarantino, who had been the hottest director of the nineties, had immediately cast him in the leading male role? Insane.
The chemistry between Grier and Forster is spot on, and the director illustrates their breakup at the end with a shot that couldn’t be sadder. Running into a future that Forster must spend alone, the picture gradually blurs; as the man buries his head in his arms, Bobby Womack sings his song about losers, “Across 110th Street,” in time with and off-screen.
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After Pulp Fiction, there were many doors open for Tarantino, everyone was eager to become a companion, and maybe that explains why he reached out to people who didn’t fit into the film. Michael Keaton makes a fool of himself; Chris “Get In the Trunk” tucker is a foreign body, and de Niro in a role as a dull permanent toner gives it away. That “Chicks with Guns” long-distance interlude would have fit in the gaudy “Pulp Fiction,” it comes across here as an outtake from another film.
After “Jackie Brown,” it would take six years for his next movie to hit theaters with “Kill Bill Vol. 1” – Tarantino’s longest hiatus to date.
