Reservoir Dogs

Tarantino is letting his teeth sink in on the characters more than the bangs and booms, to a degree that he embodies one.

Tarantino’s game of assumption is a pretty standard equation. The writer and director, Quentin Tarantino is taking a discussion further than just a suggested idea in a bar. And on his side, before the argument even begins, is a crowd pleasing concept and enticing genre to follow. The film often tends to stay ahead of the game and provokes you, challenges you to be in sync with the storytelling. As a result a lot of time is spent upon placing the assumption, the imagination in your head as a viewer. Let’s go through the scene where Mr. Blonde (Michael Madsen) tortures the cop.

At first, the condition, the premise is set by him. It helps you know the tone and endorses the upcoming event with a cautionary warning. And then comes the violence. But the violence isn’t gruesome as it is painted and hyped in public opinion. Yes, there is literal blood baths in here, but I have seen much worse cringeworthy eye popping or screeching images. And I insist on its subtlety- if we can call it that- of the violence, is because most of it is left upon your imagination, innuendos are clear and crisp and hence the “necessary” clause goes out of the window.

Maybe, that’s why Madsen is shown leaving the music behind and come back to it, grooving as he yells out his final threat. That part, that dance, is the style that defines Tarantino’s cinema. Before a shock is revealed which then turns itself into an ethical dilemma, what he is showcasing as a part of narrative is the style that we actually remember him and his films for. Reservoir Dogs is a flashy pop culture cinema, just like the conversations that it is brimming with, grounded by an eye on mythological creatures.

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