Friday, November 22, 2013

Quentin Tarantino Essay

Essay on Quentin Tarantino

Killing is easy, tells us Quentin Tarantino. Even if your opponent will fight using teeth and nails and cause you pain. "Revenge is a cold dish, but seasoned with hot pepper - coveted delicacy for "foodies."

In early 1992, no one has ever heard of Tarantino. By the end of the year, he was greeted as a messiah of the new-fashioned cinema. With the advent of "Pulp Fiction," media and the film industry itself underwent a powerful shock. Apocryphal story, of course, is that between the time, when Tarantino was plowing behind the counter of the store videotapes, and that when he made ​​his first film "Reservoir Dogs," was less than a minute. There are many versions of his difficult childhood: his mother, a teenager from a remote village, half Cherokee, who grew up in the American south and brought up his ragamuffin son in the Appalachians, illuminated by moonlight. In search of work, she moved to Los Angeles, and the small Quentin dropped out of school, and started to make his way through life reveling in debauchery on the streets. Such stories are rarely true. Quentin Tarantino is not the star of the working class.


The main topics for reflection, insistently offered by Tarantino in his movies to the audience in his movies are an excess of violence in this world, the violence perpetrated by women, violence against women, and murders taking place in the eyes of a child.

Throughout his pictures, the feeling haunts us that we are witnessing the farce: this world is full of sick people, including the director of the movie, who obviously is seriously ill. But in fact it turns out to be yet another gimmick.

For example, could an one-eyed killer accompanying theatrics its preparation for the next vile murder be completely mentally adequate? Artfully created atmosphere of the movie suggests that the murder is a nice, little tickling the nerves work, and life is nothing.

This position of the depreciation and non-attachment to life is the ideology of Japanese ninja and samurai (and a component of Buddhism). And Bill - behind the scenes - is trying to convey this stance in life - together with the creator of the movie, which, I think, is also no stranger to these philosophical views.

The deliberate exaggeration, exaggerated imagination, reflected in the form of our perception of shocking images of violence - these are the qualities of character that are hidden from mere observer, but requiring development.

As the very extravagant to the extreme creativity - just a screen for the secret motive of the case, not the result of promiscuity, and karmic necessity - for the most secure and harmonious development of Tarantino’s personality.

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