I had one last thought about Mitt Romney that seemed worth sharing before the clock strikes twelve and he's officially yesterday's news. I was not a fan of the Kill Bill movies, but I did appreciate one scene, near the end of KB2, that displayed the genius for pop banter that had characterized Quentin Tarantino's earlier films.
A very happy birthday to Elmore Leonard, who turns 82 today. In addition to reigning as the dean of American crime fiction for a few decades now, Leonard has had his books and stories converted into nearly three dozen films and TV movies. He's also, to a significant degree, the artistic forefather of Quentin Tarantino.
Lila Says (Samuel Goldwyn) and My Summer of Love (Focus) Sex can be very helpful. For a screenwriter who wants to treat a subject that might seem insufficiently interesting to some viewers, a strong sexual element can serve as hook and medium. As multiple instances have shown, that sexual element can bring along the background material that may have been the first reason for making the picture. The latest example is Lila Says. The screenplay of this French film is by Ziad Doueiri, who is Lebanese-born and has done a lot of technical work in Hollywood, particularly for Quentin Tarantino.
Quentin Tarantino may have found his future vocation. His once shining career as a director clouded over a tad when Jackie Brown revealed his insistence on casting B-movie stars of the 1970s and his unwillingness to edit his work to a manageable length. The Kill Bill movies confirmed both directorial tendencies while also raising questions about whether Tarantino still knows how to write a screenplay. But now, with Hero, the door may have opened onto a new career path: impresario. "Quentin Tarantino Presents," the box cover of the Chinese kung fu epic announces in large type above the title.
Well, at least we find out how it ends. After two installments and four hours of running time, Kill Bill finally reveals whether it will fulfill the promise of its title. Now we can all move on. Regular readers may recall that I was not fond of Volume 1 of Quentin Tarantino's epic homage to kung fu movies, spaghetti westerns, and Uma Thurman's feet. The good news is that there is less to dislike in Kill Bill Volume 2--no parents casually murdered in front of their children, no jokes about pedophilia or raping the comatose, a vastly diminished body count.
Elmore Leonard is perhaps the most cinematic novelist writing in the English language. This is partly due to his usual subject matter—strong men and beautiful women on the edge of the law—but still more to the fact that his books read very nearly in real-time. Unlike most crime writers, for whom no physical or emotional detail is too small, Leonard has an extraordinary gift for concision: In any given scene he tells you just enough for the scene to play, and nothing more.
In an interview following the release of Reservoir Dogs in 1992, Tim Roth ventured that "I honestly think you could take the same script but reshoot it with women and it would work. It would be the most controversial film ever. ... You could call it Reservoir Bitches." It took more than a decade, but with Kill Bill Volume 1 (out on video this week), Quentin Tarantino finally made his Reservoir Bitches. And while it's not the most controversial film ever (nor even of the past twelve months), that was clearly the director's aspiration.