Tuesday, 7 December 2010

The One Where AT Defends From Dusk Til Dawn

Merry Christmas, everyone! It's AT here, to continue my Tarantino love. Don't tut. You know you love him really...

Now that’s out of the way, lets talk about how god damn classic, From Dusk Til Dawn is.

A good mate of mine, lets call him “The Boy Cheese”, went in “not knowing”.

That, and other things (He’s a great lover, allegedly), has made me jealous of him for a very long time.

Just think about it.

They get to the bar. We all get a little excited about the lap dance (semi AT LEAST)… then it hits the fan.

Ha. That would’ve been brilliant.

For me, alas, it was not to be...

In stead, as a film geek learning his trade, I knew it all.

Knew about the one-liners. (“If you try and run, I’ve got six little friends… And they can all run faster than you can”)

About Cheech Marin. (Too many one-liners to mention. Mainly revolving around one word.)

About how the opening half hour would play out. ((“Everybody be cool… You, be cool”)

That I had impure feelings towards Mallory Knox. (Again, mainly revolving around one word…)


Did it detract from my feelings towards the film? That in my head it played out exactly as I thought it would?

Did it hell.

The thing with Dusk is that it was the moment, above all others, where I realised Tarantino would set out to satisfy me as a fan.

Sure, there was no John Travolta comeback, or no scenes played out from different perspectives – but there was/is a lot to love.

How about Clooney.

I saw The American this week, and Clooney continues to be one of the most consistent actors around. Just effortless. And here, effortlessly cool.

The bit where he slaps Richie about, after he’s killed the hostage, is acting way above the sort you would expect in this sort of thing.

Rodriguez’s stamp is all over this – but as a Tarantino fan, it really works.

Whether it’s doing the Superman X-Ray eyes to the boot of the car, to see the hostage (playing on Tarantinos obsession of people being in the boot of cars) – or the bright, garish title cards… it’s all very much Rodriguez being Tarantino.

For the first half, at least. Rodriguez is Tarantinos puppet. Using tricks Tarantino would use. Letting the dialogue breathe.

And anyone that wanted Tarantino burned at the stake for the “Dead Nigger Storage Scene” (can I say that??) in Pulp, has to eat his or her words here.

Tarantino plays it fine.

His obvious rapport with Clooney helps. The bit I mention above, with Seth slapping Richie around, wondering whether its all his fault, plays out like two brothers. It’s believable.

Then, as I said, it hits the fan.

I’d say Dusk might be my favourite vampire film of all time. The idea of having fun with the vampire concept (like using holy water… in a super soaker), keeps everything ticking along nicely.

Tarantinos scripting even allows room for some memorable, iconic characters – not necessarily what you would expect from a film like this.

Throw in some nods to Tarantinos universe, (Hmmm… that looks a tasty burger), and this is very much a Tarantino film.

It was a while ago, but I think this was the first “18” I went to see at the cinema.

Maybe that’s why it has a special place in my heart.

More likely, it’s because psychos do not explode when sunlight hits them. I don’t give a fuck how crazy they are.

Best Bits Of "From Dusk Till Dawn"

Ka'Goroth, Torturer Of Christian Souls | Myspace Video