The 12 best movies by Quentin Tarantino ...

A few days ago we published the list of top 10 films as Woody Allen , who come from the survey that the magazine Sight & Sound has conducted more than 358 directors of today. And now comes the turn to Quentin Tarantino, who was unable to condense their selection of 10 titles, and noted twelve key works that show, without doubt, the heterogeneity of the likes of this director. There are some bizarre choices that can only come from a video store as cinephile of Tarantino. Are:

• The Good, The Bad & The Ugly (The Good, the Bad and the Ugly, 1966), Sergio Leone
• Apocalypse Now (1979), Francis Ford Coppola
• The Bad News Bears (The Bad News Bears, 1976), Michael Ritchie
• Carrie (1976), Brian DePalma
• Dazed And Confused (Moved from 76, 1993), Richard Linklater
• The Great Escape (The Great Escape, 1963), John Sturges
• His Girl Friday (New Moon, 1940), Howard Hawks
• Jaws (Jaws, 1975), Steven Spielberg
• Pretty Maids All In A Row (Dear Professor, 1971), Roger Vadim
• Rolling Thunder (The ex-prisoner of Korea, 1977), John Flynn
• Sorcerer (cursed Cargo, 1977), William Friedkin
• Taxi Driver (1976), Martin Scorsese

With Woody Allen wondered if his tastes had a direct imprint on the film he performed, and the answer was a resounding affirmation. And if Tarantino, this is still more exalted: the paradigm of postmodernism, builds his films through the pastiche of a mixture of references, but so well strung that stands in their juxtaposition, a discourse all its own. Rivers borrowed voices that shape their own voice. And is that the difference of pastiche and parody is that in the pastiche, reference is concealed, and bursts from the heart of the plane. This fusion of reference works, especially in its concentration in the detail: take a plane, a gesture, a situation, and fuses it with the other references, so that the film stands on a solid foundation made up of multiple columns provided. And hence also the difficulty of finding direct reference.

Among the list are one of the most influential directors have had in the cinema of Quentin Tarantino: Sergio Leone, director of spaghetti-western beacon. And this quote is not accidental: Leone made a parody of the Western European States through the use of irony and exaggeration of the monetary motivations of his characters. Thus, for the construction of his speeches of existing discourses, but also a reference movie, like Tarantino. Yet, Leone takes more space, behaviors and semantic fields of a genre to proceed with its decommissioning, while Tarantino is a filmmaker the detail provided.

Among all the films of Tarantino, Leone has made ​​its mark in Kill Bill, Kill Bill Vol especially 2. Space and is a direct quote Leone: chambara through the machetes and samurai genre, filtered throughout a narrative built around spaghetti-western desert. And this is how Tarantino develops hyperbole of certain elements of the genre, as in the murder of famila The Bride in the church in the wilderness: the violence appears exaggerated and filtered through a strong aestheticism, as we see in the Sergio Leone films, so that an event becomes sublime and macabre at once. There are plans that are an exact reference to The Good, The Bad & The Ugly (The Good, the Bad and the Ugly) as the plane opens Kill Bill, where we see The Bride immobilized on the ground and pointed a gun. In Leone's film we see, however, Eli Wallach pointed a gun at Clint Eastwood, who is near dehydration after being in the sun for hours:

There are many parallels between this masterpiece of Leone and Kill Bill: a penchant for nicknames (in Leone even in the title, The Good, the Bad and the Ugly) or a fetish for guns. There are also some plans that mirror situations Leone's other works, such as the following picture of Kill Bill, based on Once Upon a Time in the West (Once Upon a time). It appears The Bride, after escaping from the tomb, walk through the desert, and the image undergoes a transformation from a focused environment with a figure his opponent out of focus, the human figure that highlights focused on the environment focus. Is exactly the mechanism used by Serio Leone in Once upon a time in the West with Henry Fonda. One way to make a character out of the world, willing to exercise their vendetta:

Perhaps the biggest transit between Leone and Tarantino takes place through music, for several films of Tarantino (Kill Bill, Death Proof and Inglorious Basterds) are crossed by Ennio Morricone soundtracks that has contributed to the movies. And Kill Bill appears tramanto Il, a song featured in The Good, the Bad and the Ugly when Sentenza first appears, and that Tarantino uses it to mark the first meeting between The Bride and Bill. The same song for two reunions. And that is the ability to enter strange instruments Morricone compositions that fit standard mixture of apparently irreconcilable elements in the films of Tarantino.

But Leone also left his mark in other films. In Pulp Fiction, the time when Jules speaks to kill him before Brett was inspired by The Good, the Bad & the Ugly. And now to be seen Tarantino's first foray into the Western Django Unchained, which probably make a demystification of the western by a sum of reference and an ironic detachment. It is probably an American-style spaghetti western, which is the third step of the way that has given the Western world cinema: U.S. to Europe and back to the U.S..

Moreover, His Girl Friday (New Moon, 1940) has direct influence on the Tarantino script construction. This Howard Hawks masterpiece is the apotheosis of the screwball-comedy genre, a genre of classic Hollywood comedy, woven through dialogues delivered in a frenzy. Every word is released at extreme speed, so that the dialogue becomes a struggle of replicas, each more ingenious and lucid, which encircle the previous argument and construct sequences in a dramatic progression continued until the collapse. In the script of Pulp Fiction, Tarantino said that the characters must speak as His Girl Friday, so that the frenzy with which some characters speak Pulp Fiction and the distribution of the dialogue owes much to this tape of classic Hollywood. In addition, a phrase taken directly from His Girl Friday: Mind One of Those rolling me? (Would you mind shooting me one of those?).

Carrie, Brian De Palma, Tarantino takes the action for partition the screen into two halves, and uses it in the hospital scene from Kill Bill, The Bride while you recover. It also shares some treatment of women socially marginalized and abused.

In Pulp Fiction, Mia Wallace's phrase referring to his desire to powder her nose is a phrase taken directly from Dressed to kill (Dressed to Kill), Brian de Palma, which in turn is a postmodern revision of Vertigo and Psycho (Psycho), Alfred Hitchcock. Thus, borrowing elements Tarantino is already provided by another, is the third phase of creation. Also, Death Proof introduced on the soundtrack as a tribute, the song Sally and Jack, composed by Pino Donaggio's and appearing in the film by Brian de Palma Blow out (Impact), which Tarantino claims as one of the best of their director.

And Tarantino is that he identified with Brian de Palma, which was the paradigm of postmodernism in the birth of it, because Palma's films are already in themselves a combination of film references. But the fundamental difference is that in Brian de Palma are reasons normally narrative, while Tarantino is more plastic.

In the films of Tarantino are numerous indirect references to names of actors or characters that you admire. This is the case of Aldo Raine, Inglorious Basterds, whose name is a tribute to Major Charles Rane, the protagonist of one of the works listed, Rolling Thunder (Rolling Thunder). In addition, this film is built around the motif of revenge, perhaps the theme that obsessed Tarantino and was able to influence the narrative construction of Kill Bill, Inglorious Basterds.

On the other hand, in Reservoir Dogs, Mr. Brown mentioned in the conversation on Like a Virgin that opens the film, Charles Bronson and starring film, The Great Escape (The Great Escape), also one of the films more Tarantino admires. In fact, Budd, Kill Bill, is based on the image of Charles Bronson in The Good, the Bad & the Ugly.

In Apocalypse Now, Francis Ford Coppola, Tarantino was inspired to build the dialogue in which Captain Koons' shows that you want someone to tell your child the story of his experiences in the war if he survives. The plane taxi Esmeralda share a certain symmetry in composition, with some shots of Taxi Driver, Martin Scorsese. Raging Bull (Raging Bull), Scorsese also takes a sentence pronounced by Fabienne in Pulp Fiction, "I like the way it sucks." Thus, as can be seen, Tarantino's films is a sum of fragments so small that in their conjunction can not see their joints. Thus, it is easy to say that Tarantino film is made, and that his speech is sustained by precedents and his great ability to melt in a work that is totally new.