Introduction
Quentin Tarantino, the iconic filmmaker known for his unique storytelling and unforgettable characters, takes us on a captivating journey through his cinematic experiences and thoughts in "Cinema Speculation." This book is not just a collection of movie reviews or a typical Hollywood memoir. Instead, it's a deep dive into Tarantino's formative years as a movie enthusiast and his analytical approach to some of the most influential films of the 1970s.
In this summary, we'll explore Tarantino's childhood experiences with cinema, his thoughts on three pivotal movies from the 70s - Dirty Harry, Taxi Driver, and Escape from Alcatraz - and gain insight into the mind of one of the most celebrated directors of our time.
Tarantino's Early Cinema Experiences
The Tiffany Theater and a Seven-Year-Old's Introduction to Adult Cinema
Tarantino's journey into the world of cinema began at the tender age of seven when he visited the Tiffany Theater with his mother and stepfather. Unlike mainstream cinemas, the Tiffany was known for showing more unconventional films. In 1970, young Tarantino experienced his first double feature: "Joe" and "Where's Poppa?"
Despite the adult content and violence in "Joe," Tarantino found humor in the film. He laughed along with the adult audience, soaking up the atmosphere and reveling in the profanity-laced dialogue. This early exposure to mature content would shape Tarantino's future approach to filmmaking.
A Mother's Unique Approach to Parenting
Tarantino's mother had an unconventional approach to her son's movie-watching habits. She was more concerned about him watching the news than violent films. Her reasoning was that within the context of a movie, Tarantino could understand the plot and "handle" the violent images. This philosophy allowed young Quentin to experience a wide range of films that most children his age never saw.
Interestingly, the one film that did affect Tarantino emotionally was "Bambi." The unexpected tragedy in the animated classic left a lasting impact on him, and he believes it has been "messing kids up for generations."
The Black Cinema Experience
When Tarantino was around eight years old, his mother began dating Black men exclusively. This led to fewer movie outings, as cinema visits were usually reserved for date nights. However, one of his mother's boyfriends, a football player named Reggie, took young Quentin to see a double feature of "Black Gunn" and "The Bus Is Coming" in a predominantly Black cinema.
This experience was transformative for Tarantino. The audience's vocal reactions to "The Bus Is Coming" amused him greatly, and with Reggie's encouragement, he joined in, screaming at the screen along with the rest of the crowd. Tarantino describes this as a pivotal moment, stating that his entire life has been an attempt to recapture the feeling of watching a Jim Brown film in a Black cinema in 1972.
Dirty Harry: The Birth of a New Genre
Don Siegel: Master of Action and Violence
Tarantino's analysis of "Dirty Harry" begins with praise for its director, Don Siegel. Known for his expertise in shooting action scenes, Siegel's background in the montage department at Warner Bros. gave him a unique ability to shoot scenes that could be effectively crosscut in the editing room.
What set Siegel apart from his contemporaries was his approach to violence. While others saw fistfights and shootouts as mere action, Siegel portrayed them as brutal, visceral violence. This approach would become a hallmark of his work and influence future filmmakers, including Tarantino himself.
Clint Eastwood's Breakout Role
"Dirty Harry" marked a significant turning point in Clint Eastwood's career. While he had already worked with Siegel on three previous films, it was "Dirty Harry" that allowed Eastwood to break free from his cowboy image and establish himself as a versatile actor.
The film's success not only cemented Eastwood's status as a leading man but also crowned Siegel as Hollywood's king of cinematic violence. This collaboration would prove to be one of the most fruitful in cinema history, influencing countless films in the decades to come.
The Birth of the Cop vs. Serial Killer Genre
Tarantino argues that "Dirty Harry" was groundbreaking in its creation of a new genre: the cop versus serial killer movie. The film pits Eastwood's transgressive Inspector Harry Callahan against Andrew Robinson's part-genius, part-insane Scorpio killer, a fictional version of the real-life Zodiac Killer.
This formula would become a staple of cop movies for years to come, inspiring countless imitators and establishing a new subgenre within the crime thriller category. The tension between the rule-breaking cop and the psychopathic killer would prove to be a winning combination that audiences couldn't resist.
Political Undertones and Social Commentary
According to Tarantino, "Dirty Harry" was more than just an action-packed thriller; it was a deeply political film. Siegel deliberately tailored the movie to appeal to older Americans who felt alienated by the rapid social changes of the post-World War II era.
For this audience, Harry Callahan wasn't just a tough cop; he represented a solution to what they perceived as society's problems. The film tapped into fears and anxieties about hippies, killer cults, drugs, anti-war protests, and the sexual revolution. By positioning Callahan as a no-nonsense enforcer of traditional values, the film struck a chord with viewers who longed for a simpler time.
Siegel's Masterpiece
Tarantino considers "Dirty Harry" to be the pinnacle of Don Siegel's career. From its direction to its use of humor amidst the grim subject matter, the film showcases Siegel's talents at their peak. The blend of thrilling action, social commentary, and memorable characters created a perfect storm that would influence cinema for decades to come.
Taxi Driver: A Modern Odyssey
A Unique Viewing Experience
Tarantino's first encounter with Martin Scorsese's "Taxi Driver" came in 1977 when he was 15 years old. He watched the film at the Carson Twin Cinema, where he was the only non-Black audience member. The reaction of the predominantly Black audience left a lasting impression on Tarantino, as they appreciated the film's authentic portrayal of 1970s New York street life.
A Modern Retelling of "The Searchers"
In Tarantino's analysis, "Taxi Driver" is not quite a remake of John Ford's 1956 classic "The Searchers," but it comes very close. He draws parallels between the characters and themes of both films, noting that Scorsese himself admitted to thinking of John Wayne's Ethan Edwards when developing Robert De Niro's Travis Bickle.
Tarantino points out the similarities between the characters:
- Travis Bickle (Robert De Niro) as a modern-day Ethan Edwards (John Wayne)
- Betsy (Cybill Shepherd) as a parallel to Martha (Dorothy Jordan)
- Iris Steensma (Jodie Foster) as a counterpart to Debbie Edwards (Natalie Wood)
These comparisons highlight how Scorsese adapted the themes of isolation, obsession, and redemption from Ford's Western to the gritty urban landscape of 1970s New York.
The Descent into Madness
Tarantino's analysis of "Taxi Driver" focuses on the slow, unsettling descent of Travis Bickle into madness. The film follows Bickle's monotonous routines and inner thoughts through his handwritten diary entries, showcasing his growing disconnect from reality and his slide into violent fantasies and perceived injustices.
The portrayal of Bickle's deteriorating mental state is what makes the film so compelling and disturbing. Tarantino notes how the audience is forced to witness Bickle's transformation from a lonely, alienated individual to a ticking time bomb of violence.
Race and Representation
Tarantino delves into the racial aspects of "Taxi Driver," noting that while Bickle's racism isn't explicitly stated, it's evident in his actions and thoughts. The character's view of Black men as criminals to be feared and avoided mirrors the racism of Ethan Edwards towards Native Americans in "The Searchers."
An interesting point of discussion is the change made to the character of Sport, the pimp. In Paul Schrader's original script, all the characters Bickle kills, including Sport, were Black. However, due to concerns about potential racial violence in cinemas, Columbia Pictures and the producers insisted on changing Sport to a white character.
Tarantino argues that while this change was a compromise, it ultimately worked in the film's favor. He states that the idea of "Taxi Driver" without Harvey Keitel as Sport is unimaginable, showcasing how sometimes studio interference can lead to positive outcomes.
The Controversial Ending
The violent climax of "Taxi Driver" is, according to Tarantino, one of the most brutal endings in cinema history. He disputes Scorsese's claim of being "shocked" by the audience's reaction, arguing that it's natural for viewers to root for Bickle as he attempts to save the young Iris from her life of prostitution.
This disconnect between the filmmaker's intention and the audience's reaction highlights the complex nature of "Taxi Driver" and its ability to elicit conflicting emotions from viewers.
What If: Brian De Palma's "Taxi Driver"
In an interesting bit of speculation, Tarantino ponders how different "Taxi Driver" might have been if Brian De Palma had directed it instead of Scorsese. This isn't mere fantasy, as De Palma was actually considered for the project before Scorsese came on board.
Tarantino suggests that a De Palma-directed "Taxi Driver" would have had a completely different point of view:
Less empathy for Bickle: De Palma likely wouldn't have shown the same level of understanding for the character that Scorsese did.
A different genre focus: Instead of a character study disguised as a vigilante thriller, it might have been more of a straightforward political thriller.
Visual style: Tarantino imagines De Palma using slow-motion techniques similar to those in "Carrie" for key scenes, particularly the assassination attempt.
Character focus: Betsy's role might have been expanded, possibly to a co-leading role, with scenes from her perspective balancing Bickle's.
Casting changes: Tarantino speculates that De Palma might not have cast Robert De Niro as Bickle, instead possibly going with Jeff Bridges or Jan-Michael Vincent.
Racial elements: De Palma might have been more inclined to keep Sport as a Black character, as originally written in the script.
These speculations highlight how a different director's vision can completely transform a film, even with the same source material.
Escape from Alcatraz: The Culmination of a Partnership
A Powerful Opening Sequence
Tarantino's analysis of "Escape from Alcatraz" begins with its striking opening sequence. He describes in detail how Frank Morris, played by Clint Eastwood, is introduced to the infamous prison. The scene, with its minimal dialogue and stark imagery, sets the tone for the entire film.
This opening, which Tarantino calls "pure bravura," is notable for being the one time Don Siegel used a cinematic set piece in his career. The director's focus on creating a "cool boil" through the stark visuals and minimal dialogue showcases his mastery of the medium.
Siegel's Prison Film Expertise
Tarantino notes that Siegel was already an old hand at prison films by the time he made "Escape from Alcatraz." He considers Siegel's earlier work, "Riot in Cell Block 11," to be the best prison movie ever made. This background gave Siegel a unique perspective and expertise in portraying the claustrophobic and oppressive nature of prison life.
Structure and Pacing
The film is divided into two distinct halves. The first part depicts the brutal isolation and monotonous routine of life in Alcatraz, introducing the sadistic warden and establishing the oppressive atmosphere. The second half focuses on the meticulous planning and execution of the escape.
Tarantino points out that unlike most prison-escape movies, which are typically filled with nail-biting suspense, "Escape from Alcatraz" takes a different approach. The escape itself is portrayed as a slow, methodical process, with Morris literally chipping away at the prison walls with nail clippers. This approach, which at first seems hopeless, gradually becomes inspiring and ultimately epic.
The Siegel-Eastwood Partnership
"Escape from Alcatraz" marked the final collaboration between Don Siegel and Clint Eastwood, and Tarantino sees it as the culmination of their partnership. He argues that the real success story of the film was how Siegel and Eastwood didn't let each other down after years of working together.
Tarantino reflects on how their collaboration had benefited both men throughout their careers:
- For Eastwood, working with Siegel helped him become a major star and avoid being a flash in the pan.
- For Siegel, Eastwood's star power elevated him to the status of an A-list filmmaker.
The mutual respect, love, and admiration between the two men are evident in the quality of their final work together. Tarantino sees "Escape from Alcatraz" as a fitting end to their collaborative journey, showcasing the best of both their talents.
Final Thoughts: The Making of a Cinephile
Tarantino's journey through cinema didn't just shape his future as a filmmaker; it also formed the basis of his encyclopedic knowledge of films. He recounts how, as a ten-year-old white kid, he could hold his own in conversations about action and Blaxploitation movies with Floyd, a 37-year-old Black man who would later become a significant influence in his life.
When Tarantino was nearly 16 and getting into trouble, his mother rented a room to Floyd on the condition that he keep an eye on her son. This arrangement led to a year of intense movie-watching and discussions between Floyd and young Quentin. They watched films together in theaters and on TV, and Floyd introduced Tarantino to the world of screenwriting.
Floyd had written two screenplays, which were the first ones Tarantino ever read. These scripts and the discussions surrounding them inspired Tarantino to start writing his own screenplays. While Floyd's scripts were likely lost after his death, their essence - particularly the idea of an epic Western with a Black cowboy at its center - found its way into Tarantino's successful film "Django Unchained" years later.
This anecdote illustrates how Tarantino's early exposure to diverse cinematic experiences and mentors shaped his unique voice as a filmmaker. It also highlights the interconnectedness of cinematic influences, showing how ideas and concepts can evolve and find new life across generations of filmmakers.
Conclusion
"Cinema Speculation" offers readers a unique opportunity to delve into the mind of one of cinema's most influential directors. Through his analysis of classic films and personal anecdotes, Quentin Tarantino provides insight into the formative experiences that shaped his cinematic vision.
The book showcases Tarantino's deep knowledge of film history and his ability to dissect and appreciate the work of other directors. His analysis of "Dirty Harry," "Taxi Driver," and "Escape from Alcatraz" goes beyond mere plot summaries, delving into the cultural context, directorial choices, and lasting impact of these films.
Tarantino's personal stories, from his early experiences in the Tiffany Theater to his friendship with Floyd, illustrate how cinema has been a constant thread throughout his life. These experiences not only shaped his tastes but also influenced his approach to storytelling and filmmaking.
The book also highlights Tarantino's ability to speculate on "what-if" scenarios, such as imagining how "Taxi Driver" might have turned out under Brian De Palma's direction. This creative thinking demonstrates the fluid nature of filmmaking and how different visions can dramatically alter the final product.
Ultimately, "Cinema Speculation" is more than just a book about movies. It's a testament to the power of cinema to shape lives, influence culture, and inspire creativity. For film enthusiasts, aspiring filmmakers, or anyone interested in the art of storytelling, Tarantino's insights offer a valuable perspective on the magic of movies and the enduring impact of great cinema.