"Reservoir Dogs" Movie Review Essay & Film Analysis

Chief tarantinovsky masterpiece, a symbol of independent film in the proper sense, «Reservoir dogs» - itself reckless "surf" the waves of culture, uncompromising compilation patterned dialogues heard, seen, experienced. Scene skeleton with a robbery, a police ambush, "a cop" and under the guise of their favorite "Mystery", all the intricacies and details (in short, completely) borrowed from an unknown Western European public of Hong Kong action movie (1989 "City on Fire" dir. R. Lama) strung allusions to other films (for example, "melomanskaya" "to colic" scene with cutting off the ear reminds kubrikovskoe rape of "a Clockwork orange" and even shamelessly used the movie "Murder", "Asphalt jungle" and "gangsta" stylistic ka John By, obviously the influence of the French "new wave" - ​​Truffaut and Godard, who loved the process of "interpolation"), homespun philosophy, namely personal, deeply philistine thoughts about Madonna, waiters and tipping, "Negro" in the crime and the other typical cinematic components -. 70s music, haircuts "on Elvis' limit violence chronological trickery, properchennymi another hundred" fuck "
And all of this on a colorful wrapper nothing, silent void, indicating overcoming" classical "principles of purpose and destination. "Stealing from themselves and from others," raised to the highest creative principle. Now the recipe is clear. Postmodern masterpiece product must be at the root of a professional, artisan "to not be" obliged to indicate only their own "reality"; he turns on a narrow "patch", assembled in the workshop of hand colorful collage, however, united by a common style. Only a "washed-up" neophytes expect revolutions from culture, metamorphosis, transformation, with purist fervor require new plot moves, writers' discovery, fundamental reforms of the video. The real masters, whose lives have been put at overcoming the "cruelty" of oblivion in the least, and the only area, calculate the remaining options are already moving on a slippery slope samopovtoreniya with the dominant role of secondary, connotative changes. But busy culture pedestal "acquaintance for surfactants", where each sample is a combination of the old fragments initial origin is amusing and guess. The game of allusions, hyperlinks and smysloporozhdenie, after which the output can squeeze conceptual for the layman: "Oh, cool," or "it reminds me of ...." Therefore, for example, the image of "a man with a gun" - it is less likely the symbol "armed threat", but above all a very long series of radically different and overlapping historical and artistic reincarnations of "Taxi Driver" to "I've had enough!". Hundreds, thousands, millions of images loaded with fine detail, long-running reality of names, special styling for that somewhere in the innermost lost (or was no longer) "primary" man with a gun.
one who flirts with reality is doomed to misunderstanding and failure, and a variety of other "non." The reality is too poor and sulfur, cold and not hospitable to her trust their phobias and hopes. A symbol of our times is the "reversibility" dominated not vertical, which requires the heavens, rescues from suffocating routine human condition, "genius" of Schopenhauer, and the horizontal territorial "masterovitost" associated with fine-tuning future combinations of already existing objects. Disappearing into the depths of time, "genius" with always late (mostly posthumous) its social approval as an accomplished assessment, authentic reflection of a higher intellectual reality and actual "genius" as a consequence of social sanctions, as an extension of someone in particular in border cultural sacralized, the highest :. that's always a fine line between self-identical mass reaction to the talent of the past and present
Previous proposal based on redundant approvals, tries to explain about Teich truth "earlier geniuses grew only after his death, and now - only for life." Now it is not "geniuses" change us (if such a thing once happened), and we are creating, producing, cultivate them. And it happens by accident, an avalanche, causing even the slightest "cultural" push. "Classical" genius, having lost in the course of history all of its original value in the abyss of meaningless abstractions, stalled on the "popularity" criteria, recognition image, viscous and stringy recall those words that name. In any ranking men of genius would be inserted as a "dispassionate" neutral, reasonable statistical method. Genius can be calculated using the least prominent scientistic, mathematical method. And no matter who and what will be counted
Main -. The end result in large quantities, independent of snobbery is always transcendent criticism and deliberately democratic. Even resistant, sealed at the neuronal level expression, for example, on the incompatibility of genius and villainy are intended to be a vital truth, but only a vivid illustration to a few situations, does not claim to be all-embracing. After all, it is all about the magic of numbers, mathematical postmodern mythology: who has more money, votes, a member of the length of victories on the field or "love life»
Before Tarantino revealed not only the key components, but also the proportions to create incendiary "pop. art "cocktail: a little" smotribilnogo "" ultra-violence ", tickling the nerves of even the most persistent and accustomed, pinch lamentations about life, some intriguing plot curve slightly imagery from personal experience, and every flirtation with the" corporal ". All: Now you can "force" to consume, to exercise due care by recognizing both known and rare elements. However, and Tarantino combined in a totally incredible, explosive, eclectic mess drinking "hippanskie" everyday conversations, reflection lonely culture-and street racist, homophobic and sexist jokes, stylized robe noir thriller, timeless to use formula foul language, themes beloved "mass" media crime, Hong Kong freaks with guns, and "features a leg break" with the exact dating of ...
Here sung sociological ethnomethodology, proclaimed the rzhestvo everyday, everyday phenomenology, the one interested in something familiar and well-established, familiar and periodically reproducible. And all this against the background of a few intriguing gangster story about the robbery. Until recently the subject of cultural studies and sketches were exceptionally sacralized social phenomena: the most important, fundamental, main event. But now the study is subject to the most insignificant detail, every ugly habit and even uncomfortable for disclosure tendency
So Tarantino combined into a heterogeneous substance once aesthetically contradictory things:. Violent scenes "ultra-violence" and plebeian talk about tipping, "daily life" (but rather an absolute fantasy, fiction writers' thematic) criminal elements and floats everywhere "sweet" dreams Seller video rental, complete disregard for the "female" (here in the presence of a woman, etc. Awda, fleeting killed, but the plot required as a theatrical gun) and the constant accentuation in the field of sex jokes, jokes, sayings, reflective stories. This - not real gangsters (who since gaining command on dangerous "case" who quietly "light" in a familiar restaurant as a frequenter in "working" clothes?), It is - not the real "cops" (who is under pressure incomprehensible fatality loses touch with reality and forget about their own appointing a policeman through each offer their own flavor it cinematic allusions), it is -? some farce of chatter bored cinematic "otaku" in the guise of the criminal narrative
8 out of 10.

How to cite this essay: