Thursday, 24 February 2011

Reservoir Dogs (1992) | Quentin Tarantino
Fig 1 | 'Resvoir Dogs' Film Poster
‘Reservoir Dogs’ was the 1992 debut feature of director Quentin Tarantino and yet more noticeable it was the debut for a new technique in which to represent as story. For Tarantino this was very much his ideology which he used years after in other success such as Pulp Fiction, Kill Bill and Death Proof not to mention his recent feature Inglorious Basterds (although not highly commendably as the others). Tarantino’s tactics where nevertheless editing the film in a non-linage sequence and place the specific fragments in the appropriate place to become an advantage to the plot and storyline.
Fig 2 | Mr Pink And Mr White in stand off

The synopsis of the film follows a make-shift gang of crooks returning from a jewellery heist which takes a turn for the worst. The result sees them battling between each other as they try to figure out why the heist went wrong and who if anyone set them up.; Inevitably ending up in the massacre of the entire crew.  
The film has a generic Tarantino start of a placid conversation which after the main title turns immediately into the action making us engage with the many unanswered question such as ‘What’s happened? Why is he bleeding over the car? And ‘Why he isn’t being taken to a hospital? In these terms the film becomes more a thirst for knowledge as the plot remains unknown to the audience compared to film of normal linage feature which clear explain the turn of events and the reason for the plot.  In these turn Tarantino ‘exploits audience savvy, preferring to build anticipation, mesmerise, and then cut away at the climax’ - Almar Haflidason. Therefore keeping his viewers engaged in guessing what next.
Fig 3 | Uncomfortable - Cop staring up at Mr. Blonde, Mr White, And Mr Pink

Still his use of fragmentation offers up another view in which we can depict the story moreover the reason of the non-linear ideology. For Tarantino his plots seem almost bland in a sense of complexity which compels their viewers to engage in the feature.  For Tarantino it is to see how a more linear production of this film wouldn’t of worked as they plays on the human psyche and anticipation for the reveal. In this case ‘Reservoir Dogs’ is more like a private investigation which is lead by its viewers making us interact with film in the way of solving the mystery o the plot. Moreover the ideology of what has happened and for what reason. This is not doubt to the fragmentation which is like metaphorical speaks out as ourselves finding out the evidence to close the case (conclude the film). In this sense we can notice the elegance of the production and the usage of this within the story which in turn is very much cops and robbers. In theory the fragmentation seems to bring this film into a sense of narrative or a depiction of the story in its aftermath, as in speaks metaphorically as a detective at the final scene mulling over the his ideology. I turn presenting it with the scene titles such as ‘Mr. White, Mr. Orange and etc’ engaging the assailants as suspects and victims. For this reason the ‘A small, modestly budgeted crime movie of sometimes dazzling cinematic pyrotechnics and over-the- top dramatic energy.’ – Vincent Canby . Can quite frankly suggest the imagination of one certain detective or office running the ideology  through question the reason for the ‘John Does’ on the floor and for what reason they’re dead. In conclusion this engagement is quite common of that in Tarantino movies bring the audience in a dynamic way be in the recent direction of Inglorious Bastards which can be portrayed simpler as the audience being and onlooker of the Operation ‘Kino’  and a marshal in a debrief.
Fig 4 | Torture - Mr Blonde MomentsAway From Hacking Cops Ear Off

Moreover this film opened up a metaphorical interaction with it audience and engaged almost the ideology of audience interaction within film following on from his debut, examples being that of ‘Memento directed Christopher Nolan’ in 2000. Still this could be pushed further in a sense to that of other film which although not following the fragmentation technique use the ideology of audience interaction ‘ such as Blair Which, Cloverfield and the most recent Paranormal Activity. Concluding in this sense that Tarantino usage of interaction can last the film industry due to its capabilities of seducing and enticing it audience and for this reason make s it understandable for why the film garnered critical acclaim and Tarantino became a legend immediately.
Fig 5 | Mr Orange Kills Mr Blonde Moments Before He Burns The Cop Alive

Yet for Tarantino it’s easy to see his bravado shine through this movie and through his later collaboration. In term of ‘Reservoir Dogs’  his initiation into the cast as one of the  ‘Dogs’ speaks quite blatantly of his confidence as well as his cast member being pretty much the best in such genre.’ His strong ensemble cast, for reasons of security known to each other by their colour-coded names - principally Mr. White (Keitel), Mr. Pink (Buscemi), Mr. Blonde (Madsen) and Mr. Orange (Roth) ‘. - Jeff Dawson. Depict that this film isn’t one for the unheard actors and due to the tapestry of his plot would suffer without the individuality of the acts interpretation of Mob gangsters. As the ‘Dogs’ portrayed individually as ‘Nasty, brutish and relatively short, this ultimately succeeds through its top-notch performances, most notably from Keitel's seasoned criminal suddenly seized by a sense of morality, Roth's floundering Mr. Orange and Steve Buscemi's brilliantly antagonistic Mr. Pink .’ – Jeff Dawson.
Fig 6 | Awaiting Instruction - The Dogs Sit As They Are Given There Cover Names

 In conclusion, the film in which Tarantino directs suggest the his ego being quite enlarged even through his debut nevertheless this is accountable for his ability to engage quite strongly with the psyche of the audience via interaction and high calibre actors. The support is shown throughout his egotistical directing career having ‘Jackson, Travolta and Willis act in his later classic Pulp fiction’ as well as ‘Lucy Liu and Uma Thurman’ in Kill Bill and the likes of ‘Brad Pitt and Diana Kruger in Inglorious Basterds. Yet there is a feeling in a sense that his debut was his pinnacle in a sense as the Tarantinian feel seems strongest in this picture and from some perspective the greatest of his works to date.
Fig 7 | Laughter Before The Storn - The Dogs On the Way To The Brief
 List Of Illustrations

Fig 1 Tarantino, Quentin (1992) 'Reservoir Dogs' Film Poster
[Film Poster] From: Reservoir Dogs

Fig 2 Tarantino, Quentin (1992) Mr Pink And Mr White in stand off
[Film Still] From: Reservoir Dogs

Fig 3 Tarantino, Quentin (1992) Uncomfortable - Cop staring up at Mr. Blonde, Mr White, And Mr Pink
[Film Still] From: Reservoir Dogs

Fig 4 Tarantino, Quentin (1992) Torture - Mr Blonde MomentsAway From Hacking Cops Ear Off
[Film Still] From: Reservoir Dogs

Fig 5 Tarantino, Quentin (1992) Mr Orange Kills Mr Blonde Moments Before He Burns The Cop Alive
[Film Still] From: Reservoir Dogs
Fig 6 Tarantino, Quentin (1992) Awaiting Instruction - The Dogs Sit As They Are Given There Cover Names
[Film Still] From: Reservoir Dogs

Fig 7 Tarantino, Quentin (1992) Laughter Before The Storn - The Dogs On the Way To The Brief
[Film Still] From: Reservoir Dogs


Canby, Vincent (1992) Reservoir Dogs
 (Accessed on 21.02.11)

Dawson, Jeff . Reservoir Dogs
(Accessed on 21.02.11)
Haflidason, Almar . (2000)  Reservoir Dogs
(Accessed on 21.02.11)

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