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The 70s and 80s were a time when regulated capitalism in the US was beginning to cede to the “free market.” Nostalgia going as far back as the 60s suggests a desire to go back to a happier time.Īlong with this symbolism of the economic shift to the right is a cultural shift in that direction, heard in the characters’ casually racist, sexist, and homophobic remarks.
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Pop culture references are made to music from the 1970s (i.e., the nostalgic K-Billy radio station) and the 1980s (Madonna songs), as well as to 60s and 70s movies (with Lee Marvin and Pam Grier) and TV shows ( Get Christie Love! and Baretta). The story takes place in the early 1990s, around the time of the dissolution of the USSR (not that Tarantino, filming in 1991, would likely have known that that dissolution was coming, of course, but it’s still an interesting coincidence). Recall that I see the mafia (criminal businesses) as symbolic of capitalism, and the police, of course, protect the bourgeois state. Both groups are after a coveted commodity, and both groups use violence to get it. The LAPD cops represent the state-regulated version of capitalism and Joe Cabot, his son, “Nice Guy” Eddie, and the six men hired to rob a jewelry store of diamonds, represent the deregulated, “free market” version. I see this film as an allegory of the contradictions between different facets of capitalism, similar to my analysis of The French Connection. Orange, you’re tellin’ me this very good friend of mine, who did four years for my father, who in four years never made a deal, no matter what they dangled in front of him, you’re telling me that now, that now this man is free, and we’re making good on our commitment to him, he’s just gonna decide, out of the fucking blue, to rip us off? Why don’t you tell me what really happened?” –‘Nice Guy’ Eddie, about Mr.
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And did his fuckin’ time, and he did it like a man. All he had to do was say my dad’s name, but he didn’t he kept his fucking mouth shut.
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He got caught at a company warehouse full of hot items. “The man you just killed was just released from prison. Joe: Because, you’re a faggot, alright?! Blonde: Are you gonna bark all day, little doggie, or are you gonna bite? White: What was that? I’m sorry I didn’t catch that. White: You almost killed me! ASSHOLE! If I had any idea what type of guy you were, I never would’ve agreed to work with you. White: That fucking shooting spree in the store, remember? Blonde: What the fuck are you talking about? I gotta big fuckin’ problem with any trigger-happy madman who almost gets me shot! White: What’s my problem? Yeah, I gotta problem. White: Fuck you maniac! It’s your fuckin’ fault we’re in so much trouble. White: Piss on this fucking turd! We’re outta here. Blonde (Madsen): Nobody’s going anywhere.
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Nice Guy Eddie: You don’t believe in tipping? Nice Guy Eddie (Penn): C’mon, throw in a buck! “Shit, you shoot me in a dream, you better wake up and apologize.” –Mr. It’s all about a girl who digs a guy with a big dick. “Let me tell you what Like a Virgin is about. This is especially so with respect to his scriptwriting, given its rapid-fire dialogue–that is, the pornographic profanity, the breaking of politically-correct taboos (i.e., Tarantino’s fetishizing of such slurs as “nigger”), as well as the embracing of gratuitous violence, and the plethora of pop culture references. With Pulp Fiction, True Romance, and Natural Born Killers, Reservoir Dogs helped cement Tarantino’s reputation as a fresh, new talent. A neo-noir film, it is to a large extent inspired by The Killing by Stanley Kubrick. It stars Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn, Michael Madsen, and Lawrence Tierney. Reservoir Dogs is a 1992 crime film written and directed by Quentin Tarantino.