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Originally Posted by SuchFriendsAreDangerous
And severian, rob, lifedistortion, about Tarrantino flicks, the beauty of art is WE ARE ALL right l. Art inherently reflects multiple perspectives and interpretations.
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Too true.
Well, good art does.
I myself was extremely unsettled by the language in Reservoir Dogs... Not just the big N, but the big C, "faggot," and so on. It was jarring, possibly because I was pretty young when that film came out. But it still kind of punches at me when I watch the film now.
But in Pulp Fiction, regarding Jimmy's character, it strikes me as almost comic. Extremely comical actually. So in a way that might actually be more offensive. I'm not sure. But I to see Tarantino whining about the dead (cough) in his house is just hysterical. I still think it was meant to push buttons, perhaps with a little additional confidence from the reception Reservoir Dogs received. But Pulp Fiction is truly a black comedy (unfortunate phrase for the purposes of this conversation, but accurate) and I think because of the lightness and absurdity of the scene, it comes across as less vicious than it does in RD's.
I think Tarantino's entire career has been something of a story about one man's struggle to create an accurate depiction of race issues in film, throughout 2 decades during which the cultural conversation on race has changed so dramatically. He's never been one to take a politically correct stance on anything, at least not in his films, so I feel that Django Unchained was sort of his way of defining his views on racism once and for all.
I haven't seen the Hateful Eight. Maybe it's a regression, or maybe he thinks Django clarified his position and made it "ok" for him to return to a more grizzly, blasé use of racially charged language. I don't know. But indeed the reason I rank Django so highly (it might actually be above Jackie Brown now that I think on it) is because of the character of Dr. King Shultz, and Waltz's extraordinary performance, which earned every bit of the Oscar it received. Possibly the most moral character in the history of Tarantino's films.