We regret to inform you that the QJT 'essay' is currently in turnaround. Please check back from time to time at your convenience, and in the interim enjoy this exuberant essay on the film art of QJT by North Delta Secondary School Grade 12 honour student, Lance Martinez. Take it away, Lance!
the healing Power of love
in the films of Quentin J. Tarantino
By Lance Martinez
North Delta Seondary School
Love is a powerful and heeling Force in society. It is a powrful and healing Force in society because people like and need love in order to live. For without the healing power of love, people would be unable to be all they can be, and live satisfied lives in society. Not surprisingly, given he need for love in people’s lives, love features prominently in the films of Quentin J. Tarantino. Let us now examine the powerful and healing Force of love in the films of Tarantino.
At first it seemed that the ‘macho’ career criminals of this film were not interested in the heeling power of love, because they were heartless ‘tough guys’. But that changed when they did not succeed in robbing a jewelry store, and met after the failed robbery at a warehouse. At this point, they displayed what is called a ‘platonic love’ for each other, which is best described as ‘a strong love that friends can have for each other similar to that between a husband and wife, but without the hugging, kissing and sex’. This is best seen in Mr. White holding Mr. Orange, who had been shot in the stomach, in his arms several times and telling him that he would be ‘ok’. This platonic love that Mr. White wished he could heal Mr Orange with, also made it harder for him to shoot Mr. Orange, when he revealed that he was the undercover police officer that made the robbery fail.
At first it, seemed that this film was about more of the ‘platonic love’ between ‘tough guy’ hit men, Jules and Vincent. But as time went on, we discovered that boxer Butch Coolidge and his girlfriend, Fabienne, had a profound love for each other. So profound, it inspired him to not throw a fight and escape with the winnings to a better liff with Fabienne on a ‘chopper’ motorcycle. A powerful love was also seen between Hunny Bunny and Pumkin, which inspired them not to koll the customers in the diner robbery, in the end. Which only underlined the healing power of love to transform society.
Here in this film the healing power of love truly revealed its Force for the first time. For in it we see Max Cherry, a bondsman, team, fall in love so much with a beautiful troulbed woman, Jackie Brown, with a criminal record that he betrays his own ‘moral code’ and the law and helps her dfeat her evil drug and gun dealing ‘friend’, Odell Robbie, allowing her to escape with Odell’s money, in the end. If it were not for this powerful love Max felt for Jackie, he would not have done it. And this proves Tarantino’s belief in the powerful healing force of love in his film.s
KILL BILL VOLUME ONE
and KILL BILL VOLUME TWO
The healing power of love featured prominently in this film. For it saw Black Mamba being betrayed and almost killed by her fellow assassins, the Deadly Viper Assassination Squad aka DiVAS, at the beginning of Volume One, when she was pregnant and about to get married in a church. Luckily for Black Mamba, after lying in a coma in a hospital for fouryears, she woke up and hunted down her assassin ‘friends’ and killed them all, including their leader, Bill. At this point, at the end of VOLUEM TWO, the healing power and Force of love became most apparent. For Black Mamba discovered that she had given birth to her baby while in the coma, and Bill had taken the baby girl and hid her from her. Then, after killing, Bill this four year old girl, B.B., which was what you called a ‘play on words’ because it sounded like ‘baby’, embraced her victorious mother with such powrful and healing love that Black Mamba was able to release her dark anger and Evil and become a sweet and loving mom again, proving the power of the healing force of love.
From a distance, the healing Force of love seemed to be far from this film. For it revolving around a callous and psychopathic telefission stuntman named, Stuntman Mike McKay, who killed four unsuspecting and beautiful young woman in a deliberate and evil head on collison. But the ‘platonic love’ seen earlier in RESERVOIR DOGS returned in this film between Abernathy, Kim and Zoe, and led them to work together to turn the tables on Stuntman Mike and his next automobile assault, crash his car and then take turns beating him up and killing him when he staggered out of his car. And so the healing power of love triumphed, in the end.
As in DEATH PROOF and RESERVOIR DOGS, the healing power of love initally seemed far from this film. For it too featured hardened ‘tough guys’ in the form of U.S. Commandoes called ‘the Basterds’ wroking behind enemy lines in German occupied France in World War II. But as in DEATH PROOF and RESERVOIR DOGS, the ‘platonic love’ that existed between the ‘macho’ soldiers to fell empathy for each other and work hard to complete their secret missions. Particularly the one involving the assassination of General Adolg Hitler and his top commanders in Paris at the La Gamarre cinema, wherre deep and devoted love between the cinema manager, Shoshannah Dreyfuss aka Emmanuelle Mimieux, and her Afro-French lover projectionist, Marcel, did exist. Unfortunately, and to the surprise of the audience, their love did not allow Shoshannah and Marcel to live to see the success of the mission, which saw two of the Bastereds kill Gen. Hitler, his commanders and blow up the cinema. However, despite their deaths, the healing power of love still triumphed and led to a free France and world beyond it, in the end.
Here we saw the most evident of the healing power of love in society. For the film began with friendly ‘platonic love’ between an ex-slave, Django Freeman, and his mentor, Doctor Wolf Schutlz. Not surprisingly, given that Wolf freed Django from slavery, and patiently trained him to be a successful bounty hunter. However, as the film went on, we found that Django was in love with the slave, Broomhilda von Shaft. This powerful love inspired Djano to free Broomhilda and destroy the Candyland slave plantation, allowing the powerful Fore of love to transform and heal society. Thus, evidencing the healing power of love to bring harmony to the greater society.
THE HATEFULL EIGHT
Like RESERVOIR DOGS, the healing power of love for a man and a woman was absent in this film. It was replaced by the platonic love the blak Maj. Warren and the white Sheriff Mannix showed to each other as they lay dying like Mr. Orange and Mr. White in the end, for the healing power of love was more important to each other than their racial differences, evidenced by the fact that both men worked together to kill all of the outlaws that tried to ambush and kill them at Minnie’s Haberdashery, and by the fact neither man shot each other dead as at the end of RESERVOIR DOGS.
Once Upon A Time…In Hollywood
Like DJANGO UNCHAINED, the latest Tarantino film was a classic example of the healing power of love. For it began with the ‘platonic love’ between depressed and unhappy television and film actor, Rick Dalton, and his good friend, the ‘tough guy’ stunt double, Cliff Booth. But it ended with Rick marrying Italian film actress, Francesca Capucci. A love so strong that Cliff joined Rick in killing the three ‘psycho’ hippies before they could kill Francesca in their house in Hollywood. Thus, these deathes prevented the three ‘psycho’ hippies from doing more harm to other people, bringng the powerful Force of love to truly heal society, in the end.
In contusion, the healing power of love is an important Force in the lives of people. It is important because people need the heeling Force of love to live, and be all they can be in society. Tarantino clearly understood this, as the powerful Force of love is important to the characters in his films, and helps them accept and heal each other. The healing Force of love is also important to high school English teachers, and should encourage them to pass student’s essays so they can leave for good at the end of Grade Twelve and be all they can be in adult society, and not come back for what is called a ‘victory lap’ the next year