Grindhouse
Originally posted April 28th 2007
Where do I even start with this one. The first film, Planet Terror, is about a virus that is found and processed as a biological weapon by the US govt. The virus leaks out and zombifies a small town outside of Austin Texas. It is up to go-go dancer Cherry and her ex lover El-Wray to lead a group of survivors to safety.
Rodriguez has an incredible insight into any genre he gets his hands on and in a relatively untouched brand like the underfunded and straight forward slasher films that used to grace the Grindhouse theaters he is in a league of his own. Rodriguez brilliance comes out in the character Cherry Baby played to perfection by Rose McGowan. Cherry is a gorgeous yet extremely flawed character. She seems carved to be the victim rather than the hero and in the opening scene of the film Rodriguez shows his writing depth as he paints her as a girl who has been the victim her whole life. Rodriguez uses the relationship between Cherry and El-Wray to turn that all around. The worse things become for Cherry the stronger she finds herself alongside the lover she left years ago. Planet Terror is an intricate movie with a simple premise but amazing character depth, interaction and dialogue.
Everywhere in this film Rodriguez has his stamp, from the writing, to the cinematography, to the editing, and even the music. Rodriguez is a director who has elevated his game in a genre without much room for critical analysis. The further you dig in this movie the more impressive Rodriguez becomes.
The second, and my favorite of the two, is Death Proof. Death Proof is a revenge thriller about a psychotic stunt man who hunts down young girls with his reinforced stunt car (at first a 72 Chevy Nova and then a 68 Dodge Charger -the same year and model as Steve McQueen’s car in Bullit). Unbeknownst to stunt man Mike McKay he has picked on the wrong girls. Professional stunt woman Zoe Bell (Kill Bill, Xena, Catwoman) plays herself and along with a professional stunt driver and a ‘70 Dodge Challenger (Vanishing Point) the girls beat McKay at his own game.
Death Proof has been seen as the lesser of the two movies. Its pacing is slow and varied. Like most Tarantino films the dialogue is a tribute to the pop culture that surrounds and even defines the characters. Death Proof is a window into the lives of the female characters and allows the audience to seep in, and become attached enough that we feel for the girls when McKay attacks with his deadly vehicles. Death Proof is written much like most of Tarantino’s films, with a significant highlighting of characters and a dialogue aimed at creating a feel of “cool” throughout. For some reviewers, specifically Mick LaSalle of the San Francisco Chronicle, Tarantino’s style of filmmaking is seen as immature and is an example of how Tarantino hasn’t grown as a filmmaker. I think for Tarantino these should be taken as words of praise. Other directors who have undergone the same kind of treatment in their early years, John Ford, Clint Eastwood, and even Martin Scorcese.
You need to look at Tarantino like you would an architect. As you gaze at his buildings there will always be elements that are unmistakably his. As the visions of Tarantino leap from his mind to the page they pull the small things that make up Tarantino with them. This is not a sign of immaturity as much as it is a strong sense of vision from a writer/director who knows the end product as well as the frame by frame process.
The Grindhouse was the ultimate theater experience but the DVD looks to be amazing as well. The SXSW winning trailer “Hobo With A Shotgun” will be included and both Death Proof and Planet Terror will have an additional 20 plus minutes of footage.
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