Quentin Tarantino's Conversation Pieces

The Auteur’s Much Talked About Work – Including Inglourious Basterds

Aug 26, 2009 Martin G. Wood

Quentin Tarantino is the modern master of the conversation piece; never failing to provide audiences with something to talk about; through keen and provocative dialogue.

Ever since Quentin Tarantino burst upon the cinema scene in 1992 with Reservoir Dogs, there has been much conversation among critics, about the innovative filmmaker’s work; in particular, his use of stylized violence, and non-linear storytelling.

But, what fans talk about most when they talk about their favorite Quentin Tarantino film, is not about what a character did, but about what a character said.

Experts on the craft of filmmaking can argue whether or not Quentin Tarantino is the greatest filmmaker of his generation; but, like Billy Wilder (Ace in the Hole) before him, Quentin Tarantino knows that to be a great filmmaker, or more importantly, a memorable filmmaker, a director must be able to tell a great story, with great dialogue.

And by that count, one would be hard pressed to find a more quotable movie-maker than Quentin Tarantino. As written by the director himself, Mr. Tarantino’s films have produced some of the most often recited lines of dialogue this side of, well, Billy Wilder.

Quentin Tarantino Talkies (1992-2007)

Reservoir Dogs introduced Quentin Tarantino's unique voice to the world; through the morally ambiguous characters he created; pontificating on everything from the meaning of Madonna's Like a Virgin to Steve Buscemi's disappointment at having to don the moniker, Mr. Pink: Hey, why am I Mr. Pink?

Two short years later, every cinephile in America was asking, Know what they call a Quarter Pounder with Cheese in Paris?

Pulp Fiction (1994), Quentin Tarantino's magnum opus, chock full of unforgettable conversation starters, made the quickest leap from phenomenon to influential classic since Martin Scorsese made a similar leap with Taxi Driver in 1976.

Next Tarantino translated Elmore Leonard's stylish crime novel Rum Punch, to include some lovely pillow talk (so to speak) between Pam Grier and Robert Forster; Jackie Brown (1997) was a surprising and touching mid-life love affair.

In the wink of an eye, the 21st century dawned, and Quentin Tarantino found himself as the voice of a generation; and rather than resting on his laurels, he sought to duet with actress Uma Thurman; creating a dazzling homage to classic martial arts films; a revenge epic, sliced in two: Kill Bill Vol.1 (2003) and Kill Bill Vol.2 (2004).

The stand-out conversation piece from Kill Bill occurs in the climactic reunion between The Bride (Thurman) and Bill (David Carradine); as the two estranged lovers exchange verbal barbs, at once familiar, realistic, and oddly poignant; while at the same time, fantastically explosive.

But, then Quentin Tarantino's perfectly calibrated mix of high octane action and silky smooth talk stalled-out with Death Proof (2007); the first film in which the auteur failed to bring the gravitas audiences had come to expect from their postmodern Preston Sturges.

Inglourious Basterds (2009)

Inglourious Basterds (2009) is a true return to form for the filmmaker; a riveting World War II epic about a renegade band of outsiders, called The Basterds, who hunt and kill Nazis.

The film opens with a beautifully composed shot of a farmer working his land, with his daughters; a pastoral setting reminiscent of the original conversation pieces of the seventeenth century, when artists expanded the scope of the portrait painting, by depicting several people gathered together in conversation.

And soon Col. Hans Landa (Christoph Waltz) makes his presence felt, as the most memorable character Quentin Tarantino has created since Jules (Samuel L. Jackson), the hit man with a heart of gold from Pulp Fiction.

And just as Jules marked his arrival on the crime scene with the proclamation, The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of men; so too Hans Landa, as a sort of savage Sherlock Holmes, cleverly coaxes his victims with sly words of insight, just before revealing his murderous intent.

...the Führer's brought me off my Alps in Austria and placed me in French cow country today...

...Because I'm aware what tremendous feats human beings are capable of once they abandon dignity.

The difference being of course, there’s no gray area in what Hans Landa does, and he possesses no heart of gold; but, what Hans Landa does possess is a brilliant mind and a charming personality (thus, a charming pig, but charming none the less; and far more charming than that pig from Green Acres).

The opening scene of Hans Landa calmly and methodically interrogating the farmer is as good as anything Tarantino has written; but, it's only the beginning.

Inglourious Basterds is an embarrassment of riches; providing the viewer with countless scenes of action and drama, spiked with black humor, all equally compelling; perfectly balancing bloody, red meat action sequences with rich, full-bodied, red wine conversation pieces.

One of the most entertaining chapters involves the radiant Mélanie Laurent playing Shosanna Dreyfus, a sexy Jewish heroine who happens to run a movie theater in the heart of Paris, where all the major players, and concurrent story lines will converge.

Including Lt. Aldo Raines, leader of The Basterds, played by Brad Pitt channeling Warren Oates, possibly channeling Quentin Tarantino, delivering the triumphant last line of dialogue (and sure-fire conversation starter): This may well be my masterpiece.

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Filmmaker Quentin Tarantino