THE TWILIT TEN:
putting out the fire with gasoline
in the twilit and allegorical film art of
by Gary W. Wright
After the horrifying and outraging helicopter crash that happened around 2:20 am in the early morning of July 23, 1982 that killed actor/director/writer Vic Morrow and illegally hired and employed child extras Renee Chen and Myca Le on the George Folsey jr. produced John Landis set of the twilit, allegorical and Kathleen Kennedy and Frank Marshall produced Landis, Joe Dante, George Miller and Steven Spielberg film TWILIGHT ZONE: THE MOVIE (1983), audiences-particularly youthful Boomer Brat audiences-turned against Folsey jr., Kennedy, Landis, Marshall and Spielberg and embraced equally horrified and outraged Baby Boomer film artists like Luc Besson, Kathryn Bigelow, James Cameron, Alex Cox, David Cronenberg, Terry Gilliam and David Lynch who implicitly raged against the TZ disaster and those responsible for it in their film art. However, while some Boomer film artists were just as horrified and infuriated by the TZ disaster as the Boomer Brats who went on to be labelled “Generation X”, they were not born in the mid-Sixties to mid-Seventies like Gen X, nor did they grow up with high hopes of a better world for all people in the restless and rebellious Sixties and Seventies, only too have those altruistic and exuberant hopes and dreams dashed by the equally horrifying, infuriating, embittering, demoralizing and depressing lack of jobs and low wages and permanent part-time hours with no benefits or pensions of the few jobs that could be found in the Edgy Eighties and Nasty Nineties.
Thus, the Boomer Brats of so called Gen X were pleased when the Nineties brought with it not just the end of the Cold War but film artists like Quentin Jerome Tarantino who would truly express their anger, angst, bitterness, frustration, depression, dreams, nightmares, hopes, fears, pessimism, cynicism and caustic amusement because they shared their anger, angst, bitterness, frustration, depression, dreams, nightmares, hopes, fears, pessimism, cynicism and caustic amusement. Indeed, the Boomer Brats of Gen X were so pleased with the vengeful cinematic quest of Tarantino that they eagerly embraced him and his film art when he arrived in the early Nineties, causing him to quickly transcend his film art and became the embodiment of the lost generation of Generation X. This bitter rage against the twilit machine and journey to greater spiritual, sociocultural, philosophical and artistic significance began with the twilit, allegorical and computer generated imagery (CGI) free indie film RESERVOIR DOGS (1992).
« A psychopath ain’t a professional.
You can’t work with a psychopath.”
Indeed, Tarantino made his twilit bitterness, frustration and rage immediately and implicitly clear in this first film. For RESERVOIR DOGS saw the implicitly Alfred Hitchcock linked criminal kingpin, Joe Cabot-played by Lawrence Tierney-and his implicitly Brian De Palma linked son, Nice Guy Eddie-played by Chris Penn-recruit some completely amoral, violent and blockbuster loot lusting criminals implicitly linked to prominent blockbuster loot lusting Zone War film artists for a blockbuster robbery of Karina’s Wholesale Diamonds. Significantly, like the TZ disaster, the robbery was a complete snafu, with the implicitly Tarantino linked Mr. Brown and the implicitly Sir Ridley Scott linked Mr. Blue-played by Tarantino and Eddie Bunker, respectively-killed by police over the course of the robbery. For his part, the implicitly James Cameron linked Mr. Orange, in reality an undercover LAPD officer named Freddy Newendyke-played by Tim Roth-who had given his fellow officers advance warning of the robbery, was shot in the stomach and mortally wounded after being shot by a female driver with a gun-played by Suzanne Celeste-while commandeering her car and fleeing the scene with the implicitly Spielberg linked Larry aka Mr. White-played by Harvey Keitel.
Significantly, the survivors of the blockbuster fiasco gathered in a warehouse with stark interiors and angrily confronted each other over who had tipped off the LAPD to the robbery in advance with all too correctly paranoid fury, evoking the equally angry and correctly paranoid confrontations between the personnel of a remote American research base with equally stark interiors in Antarctica as they struggled to figure out who had been infected with blockbuster CGI enhanced extraterrestrial Evil in the eerily twilit and prescient allegorical John Carpenter film THE THING (1982), openly linking the film to the twilit and disastrous July of ’82. Here a barely alive Mr. Orange shot the implicitly George Lucas linked “Toothpick” Vic Vega aka Mr. Blonde-his codename evoking the blonde hair of Mark Hamill’s Luke Skywalker in the STAR WARS Classic Trilogy, and played by Michael Madsen-before Mr. Blonde set on fire a hostage LAPD officer that he had been torturing named Marvin Nash-played by Kirk Baltz. The bloody film climaxed with Mr. White shooting and killing Joe and Nice Guy Eddie as he was shot in turn by Eddie, then the wounded Mr. White shot Newendyke in the head when Newendyke revealed he was an undercover cop before Mr. White was gunned down in turn by the LAPD when they burst into the warehouse.
Ironically, in the most surprising and brazen twist in the film, it was the implicitly Landis linked Mr. Pink-played by Steve Buscemi-who escaped the carnage with the stolen jewels unharmed, perhaps to affirm his implicit link to Stanley Kubrick, who was also unaffected by the TZ disaster, given the film’s allusions to such allegorical Kubrick films with creative and nonlinear chronologies as KILLER’S KISS (1955) and THE KILLING (1956). Thus, Tarantino implied that Cameron, De Palma, Lucas, Sir Scott, Spielberg and even himself were all as equally amoral and as obsessed with blockbuster loot that they did not care who they killed to get it as Landis, and doomed to die in the madcap and violent attempt. With the surprise escape of the implicitly Landis linked Mr. Pink, Tarantino also implied that for all of the hard and often CGI enhanced cinematic work and box office success of Cameron, De Palma, Lucas, Sir Scott and Spielberg since the TZ disaster, no film artist had been able to stop Landis from returning to film art after being found not guilty of manslaughter at the TZ trial’s conclusion in 1987 or break film art free from the twilit disaster and kick off a daylit and Skyrocking new era of CGI enhanced film art.
Thus, the essential characteristics of a Tarantino film, such as a righteous and embittered twilit fury which fuelled an indomitable and gleefully politically incorrect indie spirit; angry, disaffected, riotous and obscenity filled dialogue common to Boomer Brat circles at the time; a discordant chronology enhanced by disorienting flashbacks; pop music of the sizzlin’ and pre-TZ disaster Sixties and Seventies when most of the Boomer film artists being implicitly addressed were riding high enhancing the visuals with bitter and ironic fury, some of the allegorical songs courtesy of the “Super Sounds of the ‘70’s” weekend radio show hosted by Steven Wright’s DJ K-Billy, with an emphasis on bitterly and furiously ironic, as the allegorical and Joe Egan and Gerry Rafferty written Stealers Wheel tune “Stuck In The Middle” (1972), played as Mr. Blonde stood between Officer Nash and Mr. Orange and rocked and rolled and tortured before he was gunned down by Mr. Orange to prevent him from setting a gasoline soaked Officer Nash on fire; and a lack of CGI enhancement or any interest in frantically assuring audiences that film set disasters could be avoided, couldn’t they?, with CGI enhancement as Kennedy, Marshall and Spielberg would desperately do the following year in the infuriatingly awful, twilit, allegorical and CGI enhanced Spielberg film JURASSIC PARK (1993), so make sure you buy all the movie tie-in t-shirts, baseball hats, posters, soundtracks, videos and toys that you can so we can get rich at your expense, ok sheeple?; were established with RESERVOIR DOGS.
Not surprisingly, these characteristics immediately endeared him to the Boomer Brats of Gen X, who shared his experiences and world view. Perhaps the fact that Tarantino was literally a fellow audience member with literally no experience making film art who simply rose up in outraged fury to defend a cinematic art form he loved so much as so many Gen Xers wished they could do also endeared him to the Boomer brats. At any rate, all the traits seen and heard in RESERVOIR DOGS also continued when Tarantino teamed up with Roger Avary to co-write the twilit and allegorical Tony Scott film TRUE ROMANCE (1993).
“Do you like to get pie
after you see a good movie?”
For the film saw a young and naïve but honest, sincere and comic, film, junk food, rock n roll and television loving Gen X protagonist, Clarence Worley-played by Christian Slater-meet and fall in love with the beautiful, bewitching, sensitive but strong blonde, Alabama Whitman-played by Patricia Arquette-a dream girl who ditched her pimp, Drexl-played by Gary Oldman-and her life as a call girl to marry him and flee the mean streets of Detroit with a suitcase full of cocaine accidentally taken from Drex for a new life in L.A. Curiously, however, Clarence and Alabama were not likely implicitly linked to a Gen X man and his film art. Indeed, since the film evoked and alluded to the twilit and allegorical David Lynch telemoving painting series TWIN PEAKS (1990-91), and the twilit, allegorical and Ozian themed Lynch moving painting WILD AT HEART (1990), and since Clarence and Alabama survived the closing climatic shootout in a hotel room of the Beverly Ambassador with the police and the pursuing mobsters from Detroit who were frantic for their missing coke and were last seen driving off into the sunset as madly in love as ever, Scott implied that he was urging Lynch not to give up on his love for film art after audiences and critics trashed his twilit, allegorical and implicitly Spielberg roasting moving painting TWIN PEAKS: FIRE WALK WITH ME (1992).
Indeed, the presence of Dennis Hopper as Clarence’s dad, Clifford Worley, affirmed the implicit Lynch addressing intent of reminding us of Hopper’s unforgettable role as the Wicked Frank Booth in the twilit, allegorical and Ozian themed Lynch moving painting BLUE VELVET (1986), whose cadence was heard in TRUE ROMANCE. The love of Clarence for Elvis and the love of the eternal rockin’ spirit of Elvis-played by Val Kilmer-for Clarence also affirmed the implicit Lynch addressing intent of the film, evoking the love of Sailor Ripley-played by Nicolas Cage-for Elvis in WILD AT HEART. The sound of Chris Isaak crooning the allegorical tune “Two Hearts” (1993), over the closing titles reaffirmed the implicit Lynch addressing intent of the film, reminding us that Isaak contributed the memorable allegorical tune “Wicked Game” (1990), to WILD AT HEART, and played FBI Special Agent Chester Desmond in TWIN PEAKS: FIRE WALK WITH ME.
At any rate, Clarence’s preference for such allegorical and CGI and movie tie-in merchandise free docufeature indie films as the Sergio Leone artbuster THE GOOD, THE BAD AND THE UGLY (1966) and Miller’s MAD MAX (1979) over puerile pap like JURASSIC PARK that were giddily given annual awards by the august Academy was pure Gen X. A pure Gen X spirit that returned when Tarantino teamed up again with Avary, Buscemi, Keitel, Roth, Samuel L. Jackson and Christopher Walken-who played the drug dealer Big Don and Vincent Coccotti, respectively, in TRUE ROMANCE-and producer Lawrence Bender, costume designer Betsy Heimann, editor Sally Menke, music supervisor Karyn Rachtman, director of photography Andrzej Sekula and production designer David Wasco-all from RESERVOIR DOGS-to implicitly roast Zone War film artists again in his next twilit, allegorical, non-linear and CGI free indie film PULP FICTION (1994).
“I think it’s like a wax museum
with a pulse.”
Curiously, and no doubt due to being pleased by the success of RESERVOIR DOGS, after doing his implicit best to symbolically kill the film art of some of the main film artists of the dread allegorical Zone Wars in that film, Tarantino did his implicit best to symbolically revive film art in PULP FICTION. Literally, in the form of the implicitly Kate Capshaw linked Mrs. Mia Wallace-played by Uma Thurman-being revived as she lay dying from a heroin overdose by the frantic and implicitly Cameron and Lucas linked Lance and Vincent “Vince” Vega-played by Eric Stoltz and John Travolta, respectively. A successful revival that ironically impressed the august Academy, as they awarded Avary and Tarantino the Oscar for Best Original Screenplay at the 1995 Academy Awards.
Curiously, while he avowed the film now, Tarantino wrote the first screenplay-later reduced to a story credit-for the twilit, allegorical and CGI free Oliver Stone film NATURAL BORN KILLERS (1994), which, given its allusions to such allegorical Terry Gilliam films as JABBERWOCKY (1977), TIME BANDITS (1981), BRAZIL (1995) and 12 MONKEYS (1995) and the zany and frenetic “Gilliamesque” style which it shared with those films, and the Monty Python evoking person-in-the-street interviews and animation segments, implicitly roasted Gilliam and his film art in the implicit form of Mickey and Mallory Knox-played by Woody Harrelson and Juliette Lewis, respectively-but implicitly hoped Gilliam would triumph over his many critics like Mickey and Mallory triumphed over the many police officers trying to stop their madcap killing spree, in the end. The following year, Michael Radford gently and implicitly likened the exuberant but naïve Tarantino’s love of film art to the love of the equally exuberant but naïve and tongue tied postman, Mario Ruoppolo-played by Massimo Troisi-for the beautiful and buxom waitress, Beatrice Russo-played by Maria G. Cucinotta-in the twilit, allegorical and CGI free film, IL POSTINO/THE POSTMAN (1995).
As for Tarantino, he had some macabre fun teaming up again with Keitel and implicitly mocking the cinematic rivalry between Landis and Kubrick in the implicit forms of the equally quarrelsome Richard “Richie” and Seth Gecko brothers-played by Tarantino and George Clooney, respectively-and implicitly roasting Francis and Sofia (SCC) Coppola in the implicit forms of the father and daughter pair of Jacob and Kate Fuller-played by Keitel and Lewis, respectively-in the twilit, allegorical, CGI enhanced and Tarantino written and co-executive produced Robert Rodriguez film, FROM DUSK TILL DAWN (1996). Then Tarantino implied that he had warmed up to Lucas since RESERVOIR DOGS when he teamed up again with Bender, Jackson, Menke and Wasco on his most sweet and linear film yet, the twilit, allegorical and CGI free indie film JACKIE BROWN (1998), based on the allegorical Elmore Leonard novel Rum Punch (1992).
“Tell me this isn’t the business to be in.”
Significantly, the film began with the allegorical and J.J. Johnson and Bobby Womack written Womack tune, “Across 110th Street” (1972), theme song for the allegorical Barry Shear film, ACROSS 110TH STREET (1972), which played as Cabot Air stewardess Jackie Brown-played by Pam Grier-arriving just on time for work at L.A.X., implicitly linking Brown to the film art of the sunlit and Skyrocking Seventies before the TZ disaster. Indeed, the link of Brown and the beginning of the film to the sunlit and pre-twilit days of film art was implicitly affirmed soon after when she was caught smuggling money and cocaine from Cabo San Lucas to L.A. for her friend, the odious and implicitly Marshall linked “unregistered” gun smuggler and drug dealer, Odell “O.D.” Robbie-played by Jackson. For this opening arrest was assigned court case number 70032, a number that reminded us that the TZ disaster that Marshall played an instrumental role in causing happened in the early morning hours of July 23, 1982.
Curiously, the Judge who announced Brown’s case number was played by Sid Haig, who openly linked the film to the film art of Lucas via his role as NCH in the eerily and presciently twilit and allegorical Lucas film THX 1138 (1971). Haig also played the villainous and violent Omar opposite Grier’s trigger happy and two fisted avenger, Nurse “Coffy” Coffin in the allegorical Jack Hill film COFFY (1973), a fitting reunion of the two actors as Lucas had been implicitly roasted in the form of King George-played by Robert DoQui-in COFFY, an implication affirmed by the film’s allusions to the allegorical and implicitly Ralph Bakshi roasting Lucas film AMERICAN GRAFFITI (1973), which had left Lucas, to his surprise more than that of anyone else, the reigning box office king of the Temple Theatre. Haig had also played the equally violent and villainous Hays opposite Grier’s equally vengeful and violent Foxy Brown in the allegorical Hill film FOXY BROWN (1974).
However, over the course of the rest of the film, Brown and the implicitly Lucas linked bail bondsman, Max Cherry-played by Robert Forster-triumphed over the odious O.D., his implicitly Kennedy linked girlfriend, Melanie-played by Bridget Fonda-and his implicitly Landis linked partner, Louis-played by Robert De Niro-with a sting that relieved O.D. of all of his hard earned and illicit money. This successful sting implied the hope of Tarantino that Lucas would return to the Temple Theatre with a twilit and CGI enhanced film that would knock out Kennedy, Landis, Marshall and Spielberg for good and return harmony to the Temple Theatre, a not unusual implication as many film artists implied that same new hope at the time. Indeed, “Across 110th Street” played again as Brown drove off alone but hopeful into an uncertain but free future on a sunny afternoon at the end of the film, affirming her implicit link to a daylit new era of film art.
The appearance of Tommy “Tiny” Lister jr. and Chris Tucker as Cherry’s hulking partner, Winston-whose huge size evoked David Prowse’s equally huge Darth Vader in the STAR WARS Classic Trilogy in an implicit affirmation of Cherry’s implicit link to Lucas-and the doomed and implicitly Spielberg linked Beaumont Livingston, respectively, also affirmed the implicit Lucas supporting intent of the film, for Lister jr. and Tucker had played the President of Earth and Ruby Rhod, respectively, the year before in the equally implicitly hopeful and Lucas supporting, twilit, allegorical and CGI enhanced Luc Besson film THE FIFTH ELEMENT (1997). The fact that Brown’s stewardess job with Cabo Air kept her constantly flying back and forth between L.A. and Cabo San Lucas delivering money for O.D. from his Mexican gun importer Mr. Walker reaffirmed the film’s implicit interest in Lucas, for Cabo San Lucas and Mr. Walker openly linked Brown to Lucas and a dedicated and determined young Jedi Knight named Luke Skywalker.
Thus, it was fitting that the embodiment of a new era of daylit and CGI enhanced Skyrocking film art was played by Grier, as she was a popular film actress in the sizzlin’, sunlit and pre-TZ disaster Seventies who had no link to the TZ disaster or those most responsible for it. It was also fitting that Tarantino linked Brown and Cherry more positively to the popular allegorical music of the Sixties and Seventies throughout the film while continuing to link Louis, Melanie and O.D. to the music of the Sixties and Seventies with his usual ironic and bitter fury. For the more positive musical link to Brown and Cherry affirmed the more hopeful tone of JACKIE BROWN, and prepared audiences for another determined heroine linked positively to the film and musical art of the Seventies in his next film. Significantly, however, Tarantino’s implicit enthusiasm for Lucas and a brave new era of CGI enhanced film art disappeared after experiencing the first two films of the STAR WARS Tragic Trilogy, for he implicitly roasted Lucas and implicitly affirmed his fondness for Lynch when he reunited with Bender, Madsen, Menke, Thurman, Michael Bowen-who played the Stan “the Man” Lee evoking LAPD Detective Mark Dargas in JACKIE BROWN-and Michael Parks-who played the implicitly Clint Eastwood linked Texas Ranger Earl “Quick Draw” McGraw in FROM DUSK TO DAWN-for more non-linear vengeance in the twilit, allegorical, non-linear, CGI free and Ozian themed indie film KILL BILL VOLUME 1 (2004).
“When do you want to die?”
Curiously, the film began with the Shaw SB Scope logo and fanfare, preparing audiences for the martial arts mayhem to follow. This was followed by a swingin’, sexy and sychedelic Seventies “Our Feature Presentation” intro that implied that despite the disappointment of the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting Lucas films STAR WARS EPISODE I: THE PHANTOM MENACE (1999) and STAR WARS EPISODE II: ATTACK OF THE CLONES (2002), Tarantino still believed that a brave new era of sunlit film art had arrived, as the sight of Brown driving away to a sunlit new life implied at the end of JACKIE BROWN, just one free of CGI given that CGI free was KILL BILL VOLUME 1.
Indeed, the sight and sound of the implicit symbol of that new era of film art, the young, blonde, fit and implicitly Glinda the Good linked warrior woman variously known as Black Mamba/the Bride/Arlene Machiavelli/and Beatrix Kiddo-played by Thurman-surviving and implicitly avenging the horror of the TZ disaster, a twilit disaster implicitly symbolized by an equally horrific and deadly attack on her wedding party and herself at a church in El Paso, Texas by the dreaded Deadly Viper Assassination Squad (aka the devious and vainglorious DiVAS) headed by the mysterious and implicitly Marshall and Great Oz linked Bill aka Snake Charmer-played by David Carradine-amongst whose insidious ranks was Bill’s younger brother, the implicitly Lucas and Tin Man linked Budd aka Sidewinder-played by Madsen-four years and six months before the opening of the film affirmed that implication. As this implicit blonde embodiment of a new era of film art was implicitly linked to the moving painting film art of Lynch, Tarantino implied that he was pleased with MULHOLLAND DRIVE (2001), the first twilit and allegorical Lynch moving painting of the new millennium.
Indeed, the resemblance and implicit link to Lynch of the back from the dead Texas Ranger who headed the investigation into the El Paso Wedding Chapel massacre, Earl “Quick Draw” McGraw-played again by Parks-affirmed the implicit link of Black Mamba to the film art of Lynch. The fact that a parting shot in the head from Bill at the end of the chapel massacre left Black Mamba comatose for four years in a hospital bed evoking Ronette Pulaski-played by Phoebe Augustine-lying comatose in a hospital bed and Laura Palmer-played by Sheryl Lee-lying dead on a morgue table in TWIN PEAKS also affirmed the implicit link of Black Mamba to the moving paintings of Lynch. The fact that an Evil night shift hospital orderly named Buck-played by Bowen-allowed paying customers like the salacious trucker played by Jonathan Loughran to have sex with the comatose Black Mamba at night reaffirmed the implicit link of Black Mamba to the film art of Lynch, reminding us that an equally Evil and implicitly Spielberg linked night porter-played by Michael Elphick-allowed paying customers to pester John “the Elephant Man” Merrick-played by John Hurt-in his hospital bed at night in the allegorical and implicitly Cronenberg and Sir Scott addressing Lynch moving painting THE ELEPHANT MAN (1980).
Given the film’s exuberant affection for traditional hand drawn animated film art, Tarantino also used the film to implicitly strike back at the rise of CGI enhanced film art after the TZ disaster. Indeed, Black Mamba was helped along in her quest to track down and kill the vainglorious DiVAS by being presented with the finest sword made by the implicitly Walt Disney linked Master Japanese sword maker, Hattori Hanzo-played by Sonny Chiba-implicitly affirming Tarantino’s fondness for traditional hand drawn animated film art. The sword reminded us that Dis and Lynch started off as visual artists, implicitly linking the samurai sword to paint brushes, pencils and pens as in the allegorical film art of Akira Kurosawa, an implicit link that inspired Lucas to implicitly link paint brushes to light sabers in the STAR WARS Classic and Tragic Trilogies. Significantly, the implicit link of Hanzo to Disney reaffirmed the implicit link of Black Mamba to Lynch, reminding us that Lynch collaborated with Disney on the twilit, allegorical and CGI free moving painting THE STRAIGHT STORY (1999).
Significantly, the first of the devious DiVAS to be killed by Black Mamba was the implicitly Cameron and Wicked Witch of the East linked Vernita “Copperhead” Green aka Jeanne Bell-played by Vivica A. Fox-whose death in her Pasadena home opened wide the gates to the healing Ozian spiritworld dream. Her second target was the implicitly Sofia Coppola and Scarecrow linked Queen of the Tokyo Underworld, O-Ren “Cottonmouth” Ishii-played by Lucy Liu. After killing the latter and her Crazy 88 gang at the House of Blue Leaves in Tokyo, Black Mamba continued her deadly quest when Tarantino reunited with Bender, Carradine, Haig, Jackson, Madsen, Menke, Parks, Thurman and Daryl Hannah and Gordon Liu-who played the implicitly Kathryn Bigelow and Wicked Witch of the West linked Elle “California Mountain Snake” Driver and Johnny Mo, respectively, in KILL BILL VOLUME 1-on the twilit, allegorical, non-linear, CGI free and Ozian themed indie film KILL BILL VOLUME 2 (2004).
“And that’s when I learned, some things,
once you do, they can never be undone.”
Indeed, over the course of the film, Black Mamba hunted down and killed the last of the DiVAS, starting with Budd-played by Madsen. Significantly, Budd’s implicit link to Lucas was affirmed by his Hawaii shirt and his lonely bachelor life in a beat up trailer in a desert canyonscape straight out of Tatooine, implicitly affirming that Tarantino’s implicit high hopes for Lucas in JACKIE BROWN had been dashed by the reality of the STAR WARS Tragic Trilogy. Curiously, after burying Black Mamba alive, Budd was actually killed by the Wicked Elle “California Mountain Snake” Driver-played by Hannah. However, Black Mamba managed to escape her coffin and dig herself out of her grave in a scene that implicitly symbolized the film art of Lynch coming back to life. Then she left the Wicked Driver to die after relieving her of her last and sinister left eye like her real life Jedi Master before her, Pai Mei-played by Liu-before heading to Mexico and being helped by the implicitly Spielberg linked pimp, Esteban Vihaio-played by Parks-to find, finally confront and kill the ringleader behind the devious and vainglorious DiVAS, the mysterious, great, powerful and dreaded Bill aka Snake Charmer-played by Carradine-with the deadly Five Point Palm Exploding Heart Technique revealed to Black Mamba by the fierce and implicitly Cowardly Lion linked martial arts master, Pei Mei-played by Liu.
Thus, the TZ disaster and the rise of CGI enhanced film art to prevent more film set disasters were both avenged, and harmony was returned to audiences, film art, film artists and the Temple Theatre. Indeed, finally killing Bill allowed Black Mamba to save her implicitly Dorothy linked daughter, B.B.-played by Perla Haney-Jardine-who implicitly symbolized and embodied a new era of daylit and CGI free film art. The fact that the two films were almost entirely free of ‘60’s and ‘70’s pop songs used to complement the visuals with bitter and ironic fury and filled with triumphant Western fused martial arts action reaffirmed the high and hopeful spirits of Tarantino. Rejuvenated spirits that were on display when Tarantino lampooned himself in a spirited cameo in the twilit, allegorical and CGI enhanced Kirk R. Thatcher film THE MUPPETS’ WIZARD OF OZ (2005). Then a bold new era of sunlit film art returned when Tarantino reaffirmed that he was not impressed with the STAR WARS Tragic Trilogy, which had wrapped up two years earlier with the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting Lucas film STAR WARS EPISODE III: REVENGE OF THE SITH (2005), when he teamed up again with Menke, Parks and James Parks-who played Texas Ranger McGraw’s “Son Number One”, Edgar McGraw, in KILL BILL VOLUME 1-to implicitly roast Lucas again and affirm his fondness for MAD MAX in the twilit, allegorical, conventionally linear and CGI free indie film DEATH PROOF (2007).
“And just because I can’t punish
Old Frankenstein in there for what he’s done…”
Indeed, the film’s retro seventies film look, complete with the return of the sexy sychedelic Seventies era “Our Feature Presentation” intro seen at the start of KILL BILL VOLUME 1 and KILL BILL VOLUME 2 and the cute blue kitty that was so frightened by a rumble of thunder and a flash of lightning that it leaped in panic away in a streak of black panther Restricted symbol hand animated cartoon, implicitly affirmed from the outset that Tarantino was hopeful that begun had a new era of sunlit and CGI free film art. The film’s Seventies vibe was reaffirmed by the many allusions to MAD MAX, the eerily prescient and twilit, allegorical, Ozian themed and implicitly Lucas and Spielberg roasting Miller docufeature indie film THE ROAD WARRIOR (1981), and the allegorical and implicitly Coppola and Lucas roasting Paul Bartel film DEATH RACE 2000 (1975), which implicitly linked the battle between Coppola and Lucas for American cinematic supremacy to the battle between Machine Gun Joe Viterbo and Frankenstein-played by Sylvester Stallone and Carradine, respectively-for American supremacy in the transcontinental and televised Death Race. The sight and sound of the psychotic television Stuntman Mike McKay-played by Kurt Russell-being linked by “Quick Draw” McGraw-played again by Parks-to the implicitly Lucas linked Frankenstein in the latter film also implied that Lucas was again being roasted in the implicit form of Stuntman Mike.
Indeed, the horrific sight and sound of Stuntman Mike deliberately killing four unsuspecting young women-Arlene aka Butterfly, Jungle Julia Luca, Lanna-Frank and Shanna, played by Vanessa Ferlito, Sydney Poitier, Monica Staggs and Jordan Ladd, respectively-in an Evil, deliberate and MAD MAX and THE ROAD WARRIOR evoking head on collision that Stuntman Mike survived in his “death proof” stunt modified car affirmed the implicit Lucas roasting intent of the film, reminding us that as a teenager Lucas miraculously survived the Great Crash of ’62 in his hometown of Modesto, CA, while the Fourceful four victims reminded us that Lucas had personally directed four STAR WARS films by this date. Not surprisingly, the sound of the carefree, allegorical and Alan Blaikley and Ken Howard written Dave Dee, Dozy, Beaky Mick and Tich tune “Hold Tight” (1965) while Stuntman Mike killed the four unsuspecting ladies returned the bitterly and furiously ironic use of allegorical pop songs of the Sixties and Seventies to a Tarantino film. The sight and sound of New Zealand stunt woman Zoe Bell playing herself and helping stunt driver Kim and their film actress friend, Abernathy-played by Tracie Thoms and Rosario Dawson, respectively-run down, beat up and kill Stuntman Mike at the end of the film reaffirmed the implicit link of Stuntman Mike to Lucas, reminding us that two thirds of the STAR WARS Tragic Trilogy was filmed in the southern hemisphere in Australia.
Alas, Tarantino then returned to the temple theatre with Bender, Menke, Wasco, Julie Dreyfus-who played Sofie Fatale in KILL BILL VOLUME 1-Brad Pitt-who played the perennially stoned Floyd in TRUE ROMANCE-KILL BILL VOLUME 1 and KILL BILL VOLUME 2 director of photography Robert Richardson and Omar Doom and Eli Roth-who played bar patrons in DEATH PROOF-with another righteous, raucous and riotous roaring rampage of revenge in the all too fittingly entitled, twilit, allegorical, conventionally linear and CGI free indie film INGLOURIOUS BASTERDS (2009), its title at least evoking the allegorical Enzo G. Castellari film THE INGLORIOUS BASTARDS (1978).
“Goebbels considers the films he’s making
to be the beginning
of a new era in German cinema.”
Curiously, the film started off well, with another beautiful, young, blonde, Black Mamba evoking and implicit symbol of indie film art, one Shoshanna Dreyfuss-played by Melanie Laurent-surviving another opening massacre, this time one that killed the rest of her family in the farmhouse of the implicitly Stanley Kubrick linked Perrier LaPadite-played by Denis Menochet-in Nazi occupied France in 1941, a callous massacre supervised by the charming, pragmatically duplicitous and possibly Landis linked SS Colonel Hans Landa-played by Christoph Waltz. However, the film went south after that moving beginning, with a group of eight indie and gleefully ultraviolent Jewish-American commandos known as “the Basterds”, led by Lieutenant Aldo “the Apache” Raine and Sergeant Donny “the Bear Jew” Donowitz-played by Pitt and Roth, respectively-flown from the Italian campaign and dropped behind enemy lines in France in June of 1944. Here they teamed up with the renegade and implicitly Richard Kelly linked German, Sgt. Hugo Stiglitz-played by Til Schweiger-and Dreyfuss, now living in Paris under the alias Emmanuelle Mimieux and managing a Temple Theatre called Le Gamaar cinema with her lover, Marcel-played by Jacky Ido-to avenge the deaths of her family by assassinating Adolf Hitler-played by Martin Wuttke-who somehow had the time in this alternate Earth to forget about the Allied invasion of France on June 6, 1944 and drop by the Le Gamaar cinema one fateful night to attend the premiere of NATION’S PRIDE (1944), the latest allegorical film from Sylvester Groth’s Joseph Goebbels, starring ace German sniper Fredrick Zoller-played by Daniel Bruhl-as himself.
Intriguingly, there was a possibility that Hitler and Goebbels were linked to ex-Disney CEO Michael Eisner and his second-in-command, Jeffrey Katzenberg. A distinct possibility, indeed, given that Hitler was the head of the Third Reich and Eisner led the third major era for Disney after the first Walt Disney era and the second era led by his son-in-law, Ronald “Ronnie” Miller. If so, the assassination of Hitler, Goebbels and other Nazis at the premiere of NATION’S PRIDE at the Le Gamaar cinema and Col. Landa’s success in helping the Basterds succeed with the assassination and switching sides to the Allies symbolized the success of new CEO Bob Iger in taking over Disney from Eisner and Katzenberg. Indeed, the fact that Lt. Aldo “the Apache” Raine, Sgt. Donny “the Bear Jew” Donowitz and the Basterds evoked Stan “the Man” Lee, Jack “King” Kirby and the SGT. FURY & HIS HOWLING COMMANDOES comic that Kirby and Lee created for Marvel Comics and that der furiously fulminating Fuhrer was first met in the film posing for a painting wearing a faux white superhero cape affirmed that possibility. For it reminded us that new CEO Iger oversaw Disney’s purchase of Marvel Comics the year of the release of INGLOURIOUS BASTERDS.
Significantly, and unlike Black Mamba, Dreyfuss was killed by Zoller before completing her vengeful rampage, a rampage openly linked to the twilit and disastrous year of 1982 by the sounds of the allegorical and David Bowie and Giorgio Moroder written Bowie tune “Putting Out The Fire” (1982), the theme song of the allegorical Paul Schrader film CAT PEOPLE (1982). Curiously, the righteous and truly cinematic Nazi annihilating rampage was also implicitly linked to the Last Good Year of film in ’81, for it evoked the equally righteous, vengeful, film linked and Nazi annihilating rampage of the female spirits that emerged from the opened Ark of the Covenant at the end of the eerily twilit and prescient, Lucas executive produced and Kennedy and Marshall produced Spielberg film RAIDERS OF THE LOST ARK (1981). The raging fire and climatic explosion that destroyed Le Gamaar and killed the Nazis inside at the end of the film also evoked the raging fire and climatic explosion the destroyed the Kingston Falls cinema and killed the mayhem loving gremlins inside at the end of the twilit, allegorical and Kennedy, Marshall and Spielberg produced Dante film GREMLINS (1984).
A fitting link, given that the riotous gremlins had been watching the allegorical Disney film SNOW WHITE AND THE SEVEN DWARFS (1937) prior to being killed in the explosion, and given the irrepressible SHO DRITE AND THE TEN BASTERDS esprit of INGLOURIOUS BASTERDS. In fact, given that the alias Emmanuelle Mimieux gave Dreyfuss a Minnie Mouse evoking Emm M., perhaps her death symbolized the CGI enhanced death of the indie and hand animated film art for hand animated film art’s sake spirit of the first Disney era with the ascension of Iger. Indeed, the glass slipper evoking high heel left behind by German film actress Bridget von Hammersmark-played by Diane Kruger-that led to her being murdered by Col. Landa affirmed that possibility, for it evoked the glass slipper left behind at the ball one fateful night by Cinderella-played by Ilene Woods-in the allegorical and implicitly television bashing Clyde Geronimi, Wilfred Jackson and Hamilton Luske film CINDERELLA (1950).
At any rate, the film’s lack of ‘60’s and 70’s allegorical pop songs used in bitterly and furiously ironic emphasis implied that the target was not one of the film artists responsible for the TZ disaster or one of the other major film artists who emerged after he dread allegorical Zone Wars broke out in 1982. Unfortunately, after the 1941 prologue, INGLOURIOUS BASTERDS was so improbable and just plain dumb the implicit point was lost in the hilarious stupidity, an improbable stupidity that continued when Tarantino teamed up again with Bell, Jackson, Parks, Richardson, Waltz and Laura Cayouette-who played Rocket in KILL BILL VOLUME 2-on the twilit, allegorical, conventionally linear and CGI enhanced indie film DJANGO UNCHAINED (2012).
“And I think you’re an abysmal winner.”
Curiously, the film began in 1858 in the final years of the pre-Civil War era with a group of newly purchased and chained slaves stumbling through Texas badlands that evoked the desert hills and canyons seen throughout THE GOOD, THE BAD AND THE UGLY and of Tatooine in the STAR WARS Classic Trilogy, implicitly linking the film and the slaves to Lucas. This implicit link to Lucas was strengthened when a lone and retired dentist and nascent bounty hunter named Doctor King Schultz-played by Waltz-driving a covered and mobile dentist wagon appeared and attempted to purchase one of the chained slaves, Django Freeman-played by Jamie Foxx-from the two armed men on horseback-Ace and Dicky Speck, played by James Russo and James Remar, respectively-who were watching over the slaves as they transported them to their owners. For Dr. Schultz suddenly killed Ace with a quick draw and shot out Dicky’s horse from underneath him with another quick shot, evoking the sight and sound of Jedi Master Ben Obi Wan Kenobi-played by Sir Alec Guinness-taking out two surly and alienated bar patrons at the Mos Eisley cantina with a quick drawn lightsaber in the allegorical, CGI enhanced, Ozian themed and implicitly Spielberg roasting Lucas film STAR WARS EPISODE IV: A NEW HOPE (1977), implicitly linking Dr. Schultz to Lucas.
Alas, after that intriguing beginning, DJANGO UNCHAINED became just as harebrained, improbable, unbelievable and just plain dumb as INGLOURIOUS BASTERDS. For no sooner did Dr. Schultz liberate Django Freeman from his chains and give him his freedom, than-!presto magico!-the uneducated slave instantly transformed into a literate and deadly marksman who could casually and confidently shoot the pips out of an ace of spades at 40 paces in a bizarre and unlikely transformation. Freeman also joined Dr. Schultz on his bounty hunter quest, helping the good Doctor hunt and gun down rogues and rapscallions. One of Freeman’s deadeye victims was the implicitly Francis Coppola linked plantation and slave owner, “Big Daddy” Bennett-played by Don Johnson. Indeed, the dramatic symphonic music that played as Bennett led a group of masked horseman on a KKK anticipating charge of the encampment of Freeman and Dr. Schultz shortly before his demise affirmed Bennett’s implicit link to Coppola, for the charge evoked the helicopter Cavalry charge on a Vietnamese village to the tune of Richard Wagner’s “Flight Of The Valkyries” in the presciently twilit and allegorical Coppola docufeature indie film APOCALYPSE NOW (1979).
Significantly, after killing Bennett, Dr. Schultz and Freeman went on to bring about the demise of the implicitly Jason Reitman linked Monsieur Calvin J. Candie-played by Leonardo DiCaprio-and his Candyland slave plantation in Mississippi. Indeed, the fact that Candie’s bodyguard, Butch Pooch-played by James Remar-was implicitly linked to Piers Handling, then CEO of the Toronto International Film Festival (TIFF), affirmed the implicit link of M. Candie to Reitman. The fact that M. Candie’s head butler, Stephen-played by Jackson-was implicitly linked to Cameron Bailey, then second-in-command of TIFF, reaffirmed the film’s implicit interest in Reitman. As the implicit link of M. Candie to Reitman reminded us that Reitman had implicitly roasted creepy, despondent and raving Zone War “scholar”, Gary W. “Gardevil” Wright, in the implicit form of the equally creepy, despondent and struggling young adult writer, Mavis Gary-played by Charlize Theron-the year before in the twilit and allegorical film YOUNG ADULT (2011), the implication was that Freeman was linked to Wright and that Tarantino was implicitly allowing Wright to triumph over Reitman with the death of M. Candie and the explosive end of Candyland at the end of DJANGO UNCHAINED.
Curiously, along the way to the climatic destruction of Candyland, Freeman also gunned down Tarantino himself in the form of a LeQuint Dickey Mining Company employee, and saved the implicit embodiment of Canadian film art in the form of pretty Broomhilda Von Shaft-played by Kerry Washington. Just as curiously, an implicit interest in a vengeful gunman implicitly linked to Gardevil returned when Tarantino implied that he was lashing furiously out at the merger of Disney and Lucasfilm Ltd./ILM in 2012 which brought Kennedy into the Disney family when he teamed up again with Bell, Jackson, Madsen, Parks, Richardson, Roth, Russell and Bruce Dern, Lee Horsley and Walton Goggins-who played Old Man Carrucan, Sheriff Gus and Billy Crash, respectively, in DJANGO UNCHAINED-editor Fred Raskin-from DJANGO UNCHAINED-and composer Ennio Morricone-a fitting collaboration, given all of the allusions to the allegorical spaghetti westerns of Leone in KILL BILL VOLUME ONE and KILL BILL VOLUME TWO, INGLOURIOUS BASTERDS and DJANGO UNCHAINED-for more tenacious bounty hunters this time in the first years of the post-Civil War era in the twilit, allegorical and CGI free indie film THE HATEFUL EIGHT (2016), shot in scintillating Panavision Ultra 70.
“And I say shooting’s too good for her.”
Curiously, the film began with a bleeding and dying wooden Christ on a snow encrusted cross in the winter wilds of Wyoming-actually Colorado-preparing us for the blood and death to come. Then a Butterfield Overland stagecoach slowly approached the camera, recalling the helicopter that slowly approached the camera as it chased a Siberian Husky through the snowswept wilds of Antarctica-actually northern British Columbia-into that stark and solitary American research base at the beginning of THE THING, openly linking the film to the twilit and disastrous July of ’82 and preparing us for more paranoid confrontations that preceded the blood and death to come. Then the film saw tough, thoughtful and obdurate bounty hunter, Major Marquis Warren-implicitly linked to Gardevil friend and fellow PDSB Library Technician, Brian Gillam, and played by Jackson-stop and catch a heaven sent and life saving ride after his horse gave out on the stagecoach, which was driven by O.B.-played by Parks. On this life saving ride, Maj. Warren joined another and equally thoughtful and seasoned bounty hunter, this one resembling and implicitly linked to Stan “the Man” Lee, John “the Hangman” Ruth-played by Russell-and his still living bounty, the nasty and implicitly Kennedy linked Daisy Domergue-played by Jennifer Jason Leigh. Soon the three passengers and their driver picked up another traveller stranded in the winter wilderness after he was forced to put down his injured horse, the naïve, exuberant and implicitly Gardevil linked young “Rebel renegade” and “Sheriff”, Chris Mannix-played by Goggins. Then the overland stage rode on until a blizzard forced the travellers to make a fateful emergency stop at an isolated trading post called Minnie’s Haberdashery.
Here at Minnie’s Haberdashery, Mannix, Ruth and Maj. Warren slowly realized that some or all of the travellers met at the outpost were in murderous league with Domergue and out to ambush them, forcing the fearless three to figure out who was in on the deadly plot and who could be trusted as the blizzard roared on outside the outpost. Significantly, this scenario evoked not just the sight and sound of the angry and frustrated robbers arguing amongst themselves and trying to figure out if one of them was an undercover cop in RESERVOIR DOGS, but again evoked the sight and sound of the Skyrocking and implicitly Lucas linked pilot, MacReady-played by Russell-and his American colleagues socked in by a blizzard in that equally isolated American research base in Antarctica and forced to figure out who amongst their members had been taken over by blockbuster and CGI enhanced extraterrestrial Evil in THE THING, reaffirming the link of THE HATEFUL EIGHT to the twilit and disastrous July of 1982 and affirming the implicit link of Domergue to Kennedy. Indeed, the return of Russell and the appearance of Morrow’s daughter, Leigh, openly affirmed the link of THE HATEFUL EIGHT to THE THING and the TZ disaster. Thus, it was doubly appropriate for the soundtrack for the film to be composed by Morricone, as the Italian composer had composed the soundtrack for THE THING. In fact, three allegorical pieces from the soundtrack of THE THING, “Bestiality”, “Despair” and “Eternity”, reappeared on the soundtrack for THE HATEFUL EIGHT, openly reaffirming the film’s link to THE THING.
Just as significantly, one of the travellers lying in wait at Minnie’s Haberdashery was Domergue’s implicitly Disney CEO Iger linked gang leader brother, Jody Domingre-played by Channing Tatum-who joined their three fellow gang members, “Grouch” Douglass, the implicitly Sir Ridley Scott linked “English” Pete Hicox and the implicitly Landis linked Marco the Mexican-played by Madsen, Roth and Demian Bichir, respectively-in killing O.B., Ruth and the married couple who owned Minnie’s Haberdashery, the implicitly George Lucas and Mellody Hobson linked Sweet Dave and Minnie Mink-played by Gene Jones and Dana Gourrier, respectively. Thus, the sight of Mannix and Maj. Warren gunning down Jody and his gangland buddies and Daisy being hung to the death to fulfill the quest of John “the Hangman” Ruth, in the end, implied that Tarantino was righteously furious that Iger and Kennedy started working together after the union of Disney and Lucasfilm Ltd./ILM in 2012 and was hopeful that the “scholarly” ravings of Wright on his Zone War website might help to expose and defeat Iger and Kennedy.
Indeed, the sight and sound of Domingre and Marco killing Sweet Dave and Minnie Mink affirmed the implicit intent of the film, reminding us that Lucas and his wife disappeared from the film art scene as well after selling the Kennedy led Lucasfilm Ltd. and ILM to the Mouse House. The name of Minnie Mink reaffirmed that implication, for her name evoked Minnie Mouse. The presence of O.B., the doomed stagecoach driver, reaffirmed the film’s implicit interest in Lucas, as his name recalled that of Obi Wan Kenobi in the STAR WARS Classic Trilogy and the STAR WARS Tragic Trilogy-played in the latter by Ewen McGregor.
The sight and sound of the implicitly Landis linked Marco the Mexican being gunned down by Maj. Warren at the end of the film also affirmed that implication, given the link of Landis to Kennedy and the TZ disaster. The sight and sound of the implicitly Spielberg linked “innocent” bystander, General Sanford Smithers-played by Dern-also being gunned down by Maj. Warren reaffirmed that implication, given the link of Spielberg to Kennedy-and the fact that Spielberg had the audacity to implicitly link Landis to President Abraham Lincoln-played by Daniel Day Lewis-in the twilit and allegorical film LINCOLN (2013), a film that was co-produced by Kennedy. The sight and sound of Maj. Warren gunning down the implicitly Sir Scott linked Hicox in the end reaffirmed the implicit intent of the film, reminding us that Sir Scott made his twilit, allegorical, CGI enhanced and implicitly Kubrick addressing film GLADIATOR (2000) with Spielberg’s Dreamworks SKG.
The presence of the implicitly Stan “the Man” linked John “the Hangman” Ruth reaffirmed the implicit Disney addressing intent of THE HATEFUL EIGHT, reminding us that Disney bought Marvel in 2009. The presence of characters with alliterative names like Daisy Domergue and General Sanford Smithers affirmed that implicit link to Lee and the Marvel Cinematic Universe (MCU), for their alliterative names reminded us of Lee’s fondness for superheroes with alliterative civilian names like Peter Parker and Sue Storm. The reappearance of Jackson as Maj. Warren reaffirmed the film’s implicit interest in Lee and the MCU, for Jackson played SHIELD Director Sergeant Nicholas “Nick” Fury in the MCU. At any rate, how fitting that THE HATEFUL EIGHT ended with the bleeding and dying Mannix and Maj. Warren as the only survivors of the blockbuster bloodbath at Minnie’s Haberdashery while the blizzard raged on outside, evoking the sight of a bleeding and snow encrusted wooden Jesus on the cross that opened the film. For the scene reminded us that MacReady and Childs-played by Keith David-were the only survivors of the blockbuster extraterrestrial bloodbath at the U.S. scientific research base in Antarctica while a blizzard raged on at the end of THE THING.
As for Peter Farrelly, he gently but firmly and implicitly reminded Tarantino that there was more to the African-American experience than he acknowledged in his film art by having the rough and ready, uneducated, unworldly, working class and implicitly Tarantino linked Italian-American palooka, Anthony “Tony Lip” Vallelonga-curiously a part of the dread allegorical Zone Wars via his role as a mafioso named Frank in the twilit, allegorical and implicitly Spielberg roasting Landis film INNOCENT BLOOD (1992), and played by Viggo Mortensen-act as bodyguard, chauffeur, manager and contract enforcer for the well educated and worldly classically trained pianist, Doctor Donald “Don” Shirley-played by Mahershala Ali-on an eye opening and transformative tour of the still segregated Sixties South in the twilit, allegorical and CGI free docufeature indie film GREEN BOOK (2018), an implication affirmed by the film’s allusions to DJANGO UNCHAINED, PULP FICTION, RESERVOIR DOGS and THE HATEFUL EIGHT.
A film that may have impressed Tarantino, for another resigned driver who may be linked to the equally tough, seasoned, smart and indomitable Gillam, a friend of the poor ol’ Gardevil and fellow Library Technician at the Peel District School Board who resignedly drove Gardevil and himself from Mississauga to Toronto on book, CD and DVD buy expeditions due to Gardevil’s obdurate refusal to buy a car featured prominently in the next film of Tarantino, implying that he was once again addressing Gillam and Wright as in THE HATEFUL EIGHT to round off an implicit Wright Trilogy when he returned with Bell, Dern, DiCaprio, Pitt, Raskin, Richardson and Russell to the Temple Theatre with the twilit, allegorical and CGI free indie film, ONCE UPON A TIME…IN HOLLYWOOD (2019), a film that alluded to such allegorical indie docufeature Richard Rush films as TOO SOON TO LOVE (1960), THUNDER ALLEY (1967), PSYCH-OUT (1968), GETTING STRAIGHT (1970), FREEBIE AND THE BEAN (1974), THE STUNTMAN (1980), and COLOR OF NIGHT (1994), and to implicitly Rush addressing films like the eerily and presciently twilit and allegorical Dante and Allan Arkush film HOLLYWOOD BOULEVARD (1976), and the allegorical Hal Needham film HOOPER (1978).
“They can only hang me once, right?”
Curiously, after a spoof black and white Fifties television commercial for the spoof tv series, BOUNTY LAW, starring Richard “Rick” Dalton-played by DiCaprio-as intrepid and indomitable bounty hunter Jake Cahill followed by a short behind the scenes interview with Dalton and his lean and tough stunt double, Cliff Booth-played by Brad Pitt-on the set of BOUNTY LAW, the film and its opening titles began with a ridiculously slow or loving or lovingly slow or slowly loving focus shift from a background painting of Dalton to a foreground position in the back seat of a car, a shift in focus from the background to the foreground or vice versa that was so common in the allegorical docufeature film art of Richard Rush that it was best called the Rush focus. Significantly, this nod to the oeuvre of Rush reminded us that a fugitive Vietnam War veteran named Cameron-played by Steve Railsback-was persuaded by the implicitly Great Oz linked film artist, Eli Cross-played by Peter O’Toole-to evade pursuing Keystone Kop police officers by working as a stunt double for lead actor Raymond Bailey-played by Adam Roarke-on the set of the allegorical Cross film DEVIL’S SQUADRON (198?), at the beginning of the eerily prescient and twilit THE STUNTMAN, linking the interview with Dalton and Booth to THE STUNTMAN and reaffirming the implicit Rush focus of ONCE UPON A TIME…IN HOLLYWOOD.
After the camera focus luvingly pulled back into the back seat of the parked car, Booth leapt into the driver’s seat and Dalton into the passenger seat, evoking the sight and sound of Douglas “Doug” McKenzie and Robert “Bob” McKenzie-played by Dave Thomas and Rick Moranis, respectively-leaping frantically into the driver’s and passenger’s seats in their Seventies van to escape audience members furious about being let down by their twilit and allegorical film, THE MUTANTS OF 2051 AD (198?), at the beginning of the twilit, allegorical and implicitly Lucas toasting docufeature film, STRANGE BREW (1983), in the first of many allusions to that film that implicitly affirmed that Booth and Dalton were implicitly linked to two quintessential crazy Canucks in the Greater Toronto Area (GTA). Curiously, as the two men settled into their seats, the opening titles superimposed the name Leonard Di Caprio on Booth and Brad Pitt on Dalton in the first interchange of their two characters, or an implicit affirmation that the two men were different aspects of the same character.
Then Booth backed his car out of Dalton’s driveway and drove the two in the late afternoon of Saturday, February 8, 1969 to Hollywood landmark, Musso & Frank’s, implicitly linking Booth and Dalton to Gillam and Wright for Gillam always drove Wright to all of their excursions to Toronto from the GTA suburbs. Indeed, the depressed, emotional, shy and struggling “Deltan” Dalton and his love of reading, his love/hate relationship with film and telefilm art evoked Wright throughout the film, while the resigned, sympathetic, hard driving, tough and music loving Booth evoked the equally resigned, sympathetic, hard driving, tough and music loving Gillam.
At Musso & Frank’s Dalton met up with the implicitly Spielberg linked agent, Marvin Schwarz-played by Al Pacino. Significantly, this hard driving sequence was intercut with the sight and sound of Roman Polanski-played by Thurston Oglethorpe-and his beautiful young book, fashion and music loving actor wife, Sharon Tate-played by Margot Robbie, who linked the film openly to Toronto created film art via her role as the implicitly Sarah Polley linked Dr. Harleen Quinzel aka Harley Quinn in the twilit, allegorical and CGI enhanced David Ayer super satirical film SUICIDE SQUAD (2016), a point Tarantino was at implicit pains to make clear, given the number of times Tate was openly linked to the red, white and true colours of Canada-landing in a Pan Am plane at LAX that same afternoon, making their way through the frenzied paparazzi and driving home to a house on Cielo Drive that turned out to be right next door to that of Dalton, curiously bringing the opening titles full circle and setting us up for the entire film returning full circle to the Polanski house, in the end.
The film then returned to Musso & Frank’s and the meeting between Dalton and Schwarz. Here Schwarz affirmed the implicit link of Dalton to the poor ol’ Gardevil by pointing out that Dalton’s ten years of “…treading water” by accepting guest appearances as the heavy on any tv show that wanted him was endangering his career, and that Dalton should accept a chance to go to Europe to be the lead again as in his BOUNTY LAW days on some low budget indie Italian spagehetti Westerns. For the shrewd comments of Schwarz reminded us that the poor ol’ Gardevil had also spent ten years treading water writing chapters and essays for his blog and going as nowhere as Dalton. Thus, Tarantino implied his hope that Mr. POG would stop wasting his life with his blog, and maybe write a screenplay or novel or somethin’ that might help him succeed in life.
Curiously, as Booth drove a disappointed and despondent Dalton back to his digs after the meeting with Schwarz, their drive home was intercut with the sight and sound of some Charles “Charlie” Manson family girls singing an allegorical Manson tune “All Is One” (1969), while out on a garbage run in L.A. from their digs at the Spahn Movie Ranch. Curiously, these Manson girl garbage run scenes evoked a similar scene involving Manson family girls on a garbage run in L.A. while singing a version of the allegorical and Jimmy Webb written Glen Campbell tune “Galveston” (1969) that they called “Garbagerun” in the twilit, allegorical, CGI free and implicitly SCC roasting Mary Harron docufeature indie film CHARLIE SAYS (2018), a film that implicitly linked SCC to the most fixated Manson girl/murderer, Lulu aka Leslie Van Houten-played by Hannah Murray-Lucas to principal Manson family murderer, Tex Watson-played by Chace Crawford-and Spielberg to Manson-played by Matt Smith.
Indeed, the sight of Lulu and the other members of the celebrity lusting family breaking into homes in the Hollywood Hills and killing and robbing occupants like the implicitly Scarlett Johansson linked Sharon Tate-played by Grace Van Dien-evoked the sight of a group of less violent but no less madcap celebrity lusting teens breaking into homes in the Hollywood Hills and fleecing them of their luxury goods in the twilit, allegorical, CGI free and implicitly Reitman and Diablo Cody roasting SCC docufeature indie film, THE BLING RING (2013), affirming the implicit SCC roasting intent of CHARLIE SAYS. An implication reaffirmed by the implicit link of Tate to Johansson in CHARLIE SAYS, for the implicit link reminded us that Johansson played the implicitly SCC linked Russian assassin, Natasha “Black Widow” Romanoff, in the twilit, allegorical and CGI enhanced MCU super satirical filmmercials. The sight and sound of the Reitman resembling and implicitly linked Dennis Wilson-played by James T. Brown-visiting Manson, Lulu, Tex and the rest of the family at the Spahn Movie Ranch also affirmed the implicit Reitman supporting and SCC roasting intent of CHARLIE SAYS. Thus, given the allusions in ONCE UPON A TIME…IN HOLLYWOOD to CHARLIE SAYS and THE BLING RING, the twilit and allegorical SCC docufeature indie film SOMEWHERE (2009), and the eerily twilit and allegorical Coppola docufeature indie film, DEMENTIA 13 (1963)-whose end titles listed Richard Dalton as assistant director-Tarantino implied that he was responding to Harron and CHARLIE SAYS, supporting Rush and SCC and addressing Gardevil and Gillam in the film.
And then Booth dropped off Dalton and drove home to his beat up trailer located on the grounds of the Van Nuys drive-in and to his faithful pooch, Brandy-played by Sayuri-a faithful and indomitable pitt bull who evoked the equally faithful and indomitable Hosehead-played by Buddy-in STRANGE BREW while Dalton practiced his lines for his latest guest appearance as a heavy on the Western tv series, LANCER, and Polanski and Tate roared out of their driveway in their car and off to a carefree and rockin’ partay at the Playboy Mansion to the tune of the allegorical and Terry Cashman, Gene Pistilli and TP West written Buchanan Brothers tune, “Son Of A Lovin’ Man” (1969), ending Act One.
Just as curiously, Act Two saw the Good Dalton play the black cowboy hat wearing and exuberantly “…Evil, sexy Hamlet” heavy, Caleb DeCoteau, on a fake studio Western town set opposite the pretty, perky and seriously focused brunette girl actor, Trudi Fraser-who evoked a kid SCC and resembled Jane March’s troubled and SCC resembling Rose Dexter in COLOR OF NIGHT and was played by Julia Butters. Significantly, while that was happening, the Bad and allegedly wife killing Booth played the Good guy at the fake Western town set at the Spahn Movie Ranch opposite the pretty, wacky, lost and confused brunette teen Manson family member, Pussy Cat-who evoked a teen SCC, and was played by Margaret Qaulley-and refused to leave until he had assured himself that the Manson family had not killed cranky ranch owner, George Spahn-played by Bruce Dern. This act ended with both heroes succeeding in their quests.
Significantly, Act Three began six months later, with Dalton and his new Italian film actor wife, Francesca Capucci-who shared the initials of Francis Coppola, was perhaps linked to the adult SCC, and was played by Lorenza Izzo-flying into LAX like Polanski and Tate at the beginning of the film-albeit minus the paparazzi-after rejuvenating his film art career, his love life and his spirits with lead roles in three indie spaghetti Westerns and one spoof James Bond-style indie spy thriller-the allegorical Antonio Margheriti film OPERAZIONE DYN-O-MITE! (1970)-which evoked the allegorical and Bond spoofing Rush film A MAN CALLED DAGGER (1967). With them was Booth, who had also rejuvenated his career and spirits working for Dalton again as his stunt double in the four films. Indeed, the spirits of Booth and Dalton were both so rejuvenated, that after Booth drove Capucci and Dalton back to the Dalton home on Cielo Drive-to the ironic and ominous sound of the allegorical and Mick Jagger and Keith Richards written Rolling Stones tune “Out Of Time” (1966)-Booth and Dalton still had the energy to go out for dinner at Casa Vega, another Hollywood landmark restaurant, where they exuberantly praised a film artist who, fittingly and implicitly, was Rush.
Significantly, Booth and Dalton still had so much energy that the two implicitly crazy Canucks combined with Booth’s faithful pooch, Brandy, later that fateful night of August 8, 1969 to fight off and kill three Manson family psychos, Katie, Sadie and Tex-played by Madisen Beaty, Mikey Madison and Austin Butler, respectively-who were implicitly linked to Harron, Cody and Reitman, respectively. Significantly, this spirited and memorable defense literally saved film art in the embodied form of Capucci, and in the implicit form of SCC, and next door neighbour, Tate, allowing them to avoid the grisly fate meted out to Tate at the end of CHARLIE SAYS. Significantly, as the implicit link of Sadie and Tex to Cody and Reitman evoked Gardevil’s feud with the pernicious pair, Tarantino implicitly reaffirmed that he was addressing Gardevil in the film and hopin’ that he would stop being a heavy treadin’ twilit water and blasting Cody, Folsey jr., Kennedy, Landis, Lucas, Marshall, Reitman and Spielberg on his blog and go off and be a hero writing a more meaningful and Zone free screenplay or novel or poem or haiku or somethin’, an implication affirmed by the exuberantly loving care and attention lavished on the film-if not, fuck the basterd! An implication affirmed by the fact that Dalton was literally embraced by Hollywood fame and fortune in the embodied form of Tate after killing Katie, Sadie and Tex, in the end.
Thus, the embodiment of Gen X anger, angst, boredom, disaffection, frustration, grim humour, restlessness, righteous fury and shrewd insight which led to a film art that was like “…the instruments of conventional cinema had been reappropriated and reinvigorated, and (which forced) the mainstream…to readjust if it wanted to keep pace” (Bailey 183), implicitly reaffirmed he did a commitment to a tragicomic continuation of that woeful sub-genre of the dread allegorical Zone Wars known regrettably as Cinema Garite as took another furious step closer he did to completing the Twilit Ten.
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