Music in Film...Quentin Tarantino

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Welcome to the fourth installment in a series of hub articles dedicated to music in film. Each article focuses on one director, and the composers and songwriters he or she has collaborated with over the years.

The link to the introduction of this series and the first installment (Steven Spielberg) appears below:


“I find the opening credit sequence first. That starts it off from me. I find the personality of the piece through the music that is going to be in it... It is the rhythm of the film. Once I know I want to do something, then it is a simple matter of me diving into my record collection and finding the songs that give me the rhythm of my movie. The right piece of music with the right visual image makes it memorable."

--- Quentin Tarantino


Eclectic; eccentric; quixotic; exaggerated; violent; brilliant; insensitive; and groundbreaking, are all words that have been used to describe Quentin Tarantino’s iconic films. He is a master at bringing larger than life characters to the screen in impossible situations that push the outer edges of satire. His trademark storytelling reflects a highly stylized mix of anger and revenge; impulsiveness and bedlam; all spiced with touches of humor and irony.

With Tarantino, music and film aren’t simply joined at the hip…they’re indelibly fused. At times, we can’t tell if the music is set to the scene, or the scene was written to the idea of the music. When he is writing one of his screenplays, his characters will sometimes take him into directions he didn’t anticipate…and the music follows, accordingly. Not since Martin Scorsese, has any director redefined the role of music in film with such an inimitable sense of diversity and imagination.

Tarantino does not collaborate, significantly, with composers -- at least not in the traditional sense. Nor does he use traditional melodic themes with orchestration as do other directors such as Spielberg, Redford, or Scorsese with films like Age of Innocence. A number of his soundtracks initially seem to undermine a scene. In other words, they link us into the action before suddenly taking on a mood we didn’t anticipate. For example: Where else would we see a tall, statuesque blonde cut through a horde of suited ninjas with her slice-‘n-dice samurai sword while a rendition of an Isley Brothers song, “Nobody But Me,” plays in the background? It all works and fits, perfectly, within the context of the scene. In lesser hands this technique would confuse or frustrate a director and composer. Tarantino owns it.


  • Pulp Fiction

“After Jules shoots the man on the couch, he remarks to the other man who stole his boss’s briefcase: ‘Oh, I'm sorry…did I break your concentration? I didn't mean to do that. Please, continue, you were saying something about best intentions. What's the matter? Oh…you were finished! Well then, allow me to retort. What does Marsellus Wallace look like?’”

--- Samuel L. Jackson


This brilliant, ground breaking postmodern film was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant." The title refers to the creative writing in pulp fiction magazines of the mid-1900’s.

Marsellus Wallace (Ving Rhames) is a powerful mob boss operating in Los Angeles, California. The film connects intersecting, non-sequential storylines that impact his world and the two hit men who work for him: Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson). Rather than use original scoring for his film, Tarantino chose instead to utilize rock and roll, surf music and older pop songs. Dick Dale's interpretation of “Misirlou” plays in the opening scene and credits:



Wallace instructs a reluctant Vincent to keep a watchful eye on his wife, Mia (Uma Thurman), while he is out of town on business. At her insistence, they take part in a twist dance contest at the popular retro-eatery, Jack Rabbit Slim’s. The scene that follows is also a clever nod to John Travolta dancing to the music of the 1950’s in musical film, Grease. Mia and Vincent twist-dance to the song, “You Never Can Tell,” originally made famous by Chuck Berry:



Vincent escorts Mia back to her home that evening, and she invites him in for a drink. While he’s in the bathroom she discovers a packet of heroin in one of his coat pockets. Mistaking the white powder for cocaine, Mia snorts a line or two of the pure H after dancing to the Urge Overkill rendition of Neil Diamond’s “Girl, You’ll Be Woman Soon”:




  • Kill Bill (Volume 1)

“We have unfinished business.”

--- Uma Thurman


Kill Bill (volumes 1 and 2) is an ingenious mix of several genres: Spaghetti Western; Hong Kong Martial Arts and Japanese Chanabra. It marked the director’s return to film after a six-year hiatus.

This original revenge story focuses on the key character, “The Bride” (Beatrix Kiddo, played by Uma Thurman). Kiddo is a member of the Deadly Viper Assassination Squad employed by her lover, Bill (David Carradine). Upon discovering she’s pregnant, Kiddo disappears from Bill's world in order to give her child a better life. He finds her months later in El Paso, Texas, dressed in a bridal gown at her wedding rehearsal in a rural church. Bill doesn’t know the child she’s carrying is his. He orders the remaining members of the squad to slaughter everyone at the rehearsal before beating Kiddo within an inch of her life. He then shoots her in the head. Four years later, Kiddo awakens from a coma in a hospital ward. She assumes that her unborn child died during the assault at the church, and plots revenge against Bill and the Vipers.

Kiddo first travels to Okinawa to enlist the aid of Hattori Hanzo, a craftsman of the finest samurai swords in the world. He finally agrees to make one of his masterpieces for her when she informs him the “vermin” (Bill) she seeks to kill is a former student of his. (Apparently, their relationship didn’t end well either.):


[The soundtrack is from the song called, "Lonely Shepard," by German composer James Last. The Pan pipe flute is played by Romanian musician, Gheorghe Zamfir.]


At the top of Kiddo’s kill list is a former member of the Deadly Vipers, O-Ren Ishii (Lucy Liu) who is now the undisputed head of an organized crime syndicate in Tokyo. Kiddo follows her to a nightclub, The House of Blue Leaves. When O-Ren arrives with her personal bodyguards, they are pampered and fawned over by the club's proprietors:


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[The soundtrack is from, "Battle Without Honor or Humanity," by Tomoyasu Hotei.]


After carving her way through dozens of ninja bodyguards, Kiddo finally confronts her nemesis, O-Ren, in the garden behind the club:


[(For those of you who have not seen the film, Kiddo does not die in the above scene.) The music is the Santa Esmeralda version of The Animals song; “Don't Let Me Be Misunderstood.” This arrangement added elements of disco, flamenco, salsa and other Latin rhythms.]



  • Inglourious Basterds

    "Lt. Aldo Raine: ‘You probably heard we ain't in the prisoner-takin' business; we in the killin' Nazi business. And cousin, business is a-boomin'.’”

    --- Brad Pitt


When Tarantino first announced his plans to direct “a Spaghetti WW II film,” no one quite knew what to expect. Despite some criticism over the “appallingly insensitivity,” the resulting film, song and score choices culminated in numerous Academy Award nominations.

This revenge fantasy takes place in an alternate reality. Basterds is about older movies that were made concerning WWII (“The Dirty Dozen” for example), and the cinematic attempts of the Germans to produce heavily propagandized films. The ‘Inglorious Basterds’ are a group of Jewish-American guerrilla soldiers dedicated to killing and scalping Nazis wherever they find them behind enemy lines. The Basterds are led by a hard-talking southerner from Tennessee, the merciless Lt. Aldo Raine (Brad Pitt), a.k.a. "The Apache."

The story begins in 1941 in Nazi-occupied France. Shoshanna Dreyfus (Melanie Laurent), a young Jewish refugee, witnesses the massacre of her entire family at the hands of SS Colonel Hans Landa (brilliantly portrayed by Cristoph Waltz). She barely escapes with her life and eventually finds refuge in Paris where she lives under an assumed name. Several years later, Shoshanna seizes an opportunity for revenge when she’s approached to screen a high-profile and absurd German propaganda film at a movie theater she manages. Every major Nazi official plans to attend the premier; including Hitler, himself. The Basterds catch wind of the event and plan their own mass execution of everyone present. Neither Dreyfus nor Raine are aware of the other’s deadly agenda. (Shoshanna intends to set fire to the theater; Aldo plans to blow it up; thus ending the second world war.)

In the film’s opening scene, the evil Colonel Landa drives toward a remote dairy farm where a French farmer (Denis Menochet) is hiding Shoshanna and her family under the floorboards in his house:


[The music opens with a stunning Spanish guitar spin on Beethoven's “Für Elise” by Ennio Morricone.]


When questioning the farmer in his home, Landa insists they speak in English so that the family he suspects is hiding within cannot understand him and attempt to flee:



Several years later during a luncheon with Goebbels where Shoshanna is asked to host the film premier, she again encounters Landa who will act as chief of security for the event. He fails to recognize her:


[The back beats in the music were taken directly from the bath scene in the horror film, “The Entity,” with Barbara Hershey.]


The film’s entire soundtrack brilliantly makes use of diverse music genres, including but not limited to R&B, spaghetti westerns, and David Bowie's theme from the 1982 film, Cat People. The theme played during the opening credits is taken from the folk ballad, "The Green Leaves of Summer,” composed by Dimitri Tiomkin and Paul Francis Webster for the opening of the 1960 film The Alamo:




Note: This hub is not intended to endorse the violence present in Tarantino’s movies for which he has often faced criticism. Many of his fans feel that the level of aggression in most of his films is so extreme and comic book absurd, it becomes humorous. (I am not including Basterds in this grouping.) It is not always easy to pick up on his implied “joke” or “goof “and/or dark satire, but it is most often present. The question still remains as to whether there is a connection between taking pleasure in film violence and pleasure in real violence. Nevertheless, if Tarantino has taught viewers anything, it is that violence begets violence; and that despite presenting a kind of catharsis, vengeance can manifest itself as an essentially meaningless and empty objective.

My apologies for omitting certain films. Several hubs would be needed, at minimum, to encompass Tarantino’s entire body of work.



Sources:

  • Music in the Movies: Quentin Tarantino; Glen Chapman; April 12, 2010
  • Film Score Click Track; Tarantino on Film Music; Oct. 30, 2009
  • Quentin Tarantino and Philosophy; ed. Richard Greene; May 21, 2009



Written content has been copyrighted, 2014, by Genna East. All rights Reserved. Said copyrights do not extend to the videos that are utilized for solely learning purposes.



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Comments 43 comments

Alastar Packer profile image

Alastar Packer 2 years ago from North Carolina

What a great series! Been meaning to check some of them out as i knew you would do them very well, and you have at that. Who can forget Travolta's and Thurman's dance in Pulp Fiction. Some of the music in Kill Bill, likewise. Definitely coming back soon for Scorsese's!


Faith Reaper profile image

Faith Reaper 2 years ago from southern USA

Hi Genna, I read this wonderful piece here and voted up and more and shared. I am off to church now, so I will be back to leave a proper comment.

Hugs


Jodah profile image

Jodah 2 years ago from Queensland Australia

Great writing Genna. This is such an interesting series. I love Quentin Tarantino movies too. Have you ever seen Dusk to Dawn, starring George Clooney and Salma Hyek? Voted up.


AudreyHowitt profile image

AudreyHowitt 2 years ago from California

This is a great series of hubs Genna--and although I find Tarantino's work dark--he is a fascinating filmmaker--perhaps our Hitchcock--Happy Sunday to you!


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Alastar Packer

Happy Sunday to you, and thank you! I agree about the music in Kill Bill...I think it was Tarantino's best. Good to see you. I hope you are enjoying your weekend. :-)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@FaithReaper

Dear Faith...thank you so much for visit, votes and sharing. Have a wonderful Sunday, and hugs for those nice words of encouragement. :-)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Jodah

Hi John. Thank you! No, I haven’t seen that film. To be honest, I’ve only seen four of QT’s films…they are included above. (A friend of mine asked me on another hub if I would write one on Tarantino.) This was a difficult hub to write because QT is so prolific in the use of this music…it is really quite astonishing when we discover the depth of his music vocabulary and his collection of records, CD’s and soundtracks from which he chooses to use in his soundtracks. He may use only a few seconds of another soundtrack…for example, the back beats from the horror movie, “The Entity” that he used in the scene in Basterds. He is amazing.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@AudreyHowitt

Hi Audrey. I agree; that is what made writing this hub so challenging for me. I liked Kill Bill because it was so comic book campy, and focused on a woman being the heroine. Uma Thurman is not a dark person, and it showed in the film; QT was smart to choose her for this role. The music is wonderful. (Pulp Fiction is a classic.) It took me a while to figure out what QT was trying to convey with Basterds…it was ingenious. Thank you for the visit, and special comments. :-)


Faith Reaper profile image

Faith Reaper 2 years ago from southern USA

Genna,

Your introduction of Tarantino and his choice of music to use in his films is brilliant and spot on. You're so right when you write, "He owns it" for no other director could pull off his choices and the specific scenes in which they are used.

I love your choice of Tarantino’s quote there at the beginning, "... the piece through the music that is going to be in it... It is the rhythm of the film" as it certainly helps to understand his thinking behind his choice of music for a particular scene.

I have always loved the Pan pipe flute, as was used in that scene from "Kill Bill."

You are doing a wonderful job here of narrowing down your choice of what to include as relates to a film and its music, as there just are so many, just as with your other two choices of directors in this awesome series you have started writing.

There at the end, in your note and the last sentence, your insight is excellent. I look forward to reading your next choice!

Blessings


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hello Faith!

QT was challenging because he of his prolific use of music that can be quirky, dramatic, beautiful, and eccentric. He has this insanely vast collection of records, CD’s and soundtracks – most of which is already in his head when he is writing a film. There’s no one else like him. Thank you for that wonderfully generous comment, Faith. It brought a smile to my rainy Sunday. Hugs and blessings.


marcoujor profile image

marcoujor 2 years ago from Jeffersonville PA

Dear Genna,

"With Tarantino, music and film aren’t simply joined at the hip…they’re indelibly fused. At times, we can’t tell if the music is set to the scene, or the scene was written to the idea of the music."

Without a doubt, 'Pulp Fiction' is one of my all time favorite soundtracks.

I admit it's been awhile since I've seen 'Kill Bill' and I will need to revisit it again...

There is so much to learn in your series. I am enjoying it greatly and appreciate the time, effort and research you are putting into its development.

Voted UP and UABI. Love, Maria


Nellieanna profile image

Nellieanna 2 years ago from TEXAS

His statement of what starts off the creative process for Tarantino reminds me a bit of my own: - I, too sometimes find “the personality of the piece through the music that is going to be in it, the rhythm. . . .”, which is similar to my sometime starting place for creating a hub.

But there my affiliation tapers off. In fact, up till now, actually none of his films has greatly appealed to me, I must confess. In fact, he doesn’t much appeal to me, nor does his underlying edge of fury. It seems to assault the senses. It is that assault, more than the rawness of the violence, which deters me. Reading some of his bio, though, provides insight into it and your reviews reopen them for me. I haven’t really given most of them much chance. Perhaps I need to give them a new look, especially at “Inglourious Basterds”, which, from your review, I can see having such artistry. “Kill Bill” seems also more than I’d expected. (But first, perhaps, I need a booster shot! hehe)

I love that dance scene in “Pulp Fiction”. I didn’t know Uma Thurman could dance like that! wow! I remember trying to watch that movie when it came out in the mid-90s and simply being turned off so thoroughly, I couldn’t. But that was my initial reaction to “Terms of Endearment”, so not much can be deduced from my initial negative reactions to movies. Much has to do with other current factors in my own life for a variety of reasons, somewhat loosely related to the movies themselves. Fortunately, those kinds are one in hundreds of more positive reactions, because I really love quality movies and enjoy a wide variety that stretches over 8 decades of movie-going. ;-)

I appreciate your including great variety in your treatment of this theme of music in film. Each of your pieces stands alone because each of your featured directors and his use of music for a film are each unique. That is a subtle feature of this series. It’s among your best work.


always exploring profile image

always exploring 2 years ago from Southern Illinois

Pulp Fiction was a great movie. I'm afraid it's the only one i've seen. I want to see Basterds now, i hope i can find it at our video store. Great presentation Genna. Bravo!


Dolores Monet profile image

Dolores Monet 2 years ago from East Coast, United States

What a great idea for a series! I occasionally watch QT movies, but usually can not take the violence. Of course the violence in Inglorious Basterds was perfect and so deserved, such a perfect fantasy, such a perfect outcome.

I love how he uses music in film. I feel like QT re-introduced us to Dick Dale, an inspirational and important guitarist brought back for a new generation.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Marcoujor

Hi Maria. Thank you! Tarantino was challenging because his music scores are so prolific and complex. I liked Thurman in Kill Bill. I am also learning a lot with this series as well. It's so good to see you...have a wonderful week! Hugs. :-)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Nellieanna…

I know what you mean. These are the only films I have seen of QT’s. A friend of mine, Dana, asked me via the other hub if I would write one onTarantino. I thought I’d give it a try, not wanting to include only my favorite directors. I hadn’t seen Basterds so that was my third film (4th including Kill Bill Volume 2). Pulp Fiction was the first. The few films I have seen are brilliantly crafted and acted. (But there is a violence overload that can be dark, but also very unrealistic.)

QT is a member of Mensa (160). He’s intensely spatial in his thinking, which we see on film, and during his interviews which can sometimes cause the interviewer frustration. They want a simple, cohesive answer. Tarantino has several answers (of course), which they have difficulty in grasping because they are left to connect the dots, so to speak. It’s almost endearing. :-)

Thank you for those insightful comments, Nellieanna! Hugs.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Nellieanna…

I wanted to add: The level of violence I find off-putting at times, but admired Thurman’s role of Kiddo in what she had to do to prepare for this grueling, physical marathon of a role. When the camera pans to her facial expression and her eyes, we never see a cynical, jaded killer as we see in the eyes of O-Ren. Tarantino wanted the audience to cheer for Kiddo. I very much liked his music selections.

The level of violence in the sword fight between Kiddo and the dozens of Ninja’s at the House of Blue Leaves is so absurdly impossible and overwrought it’s not remotely realistic, which I think was Tarantinos’ intention. One of the humorous moments is when Kiddo is confronted by one who can’t be more than 15-16 and is terrified. Disgusted at seeing how young he is, she grabs him, bends him over her knee and spanks him with the flat side of her sword as she tells him, “This is what you get for playing around with Akunas! Now go home to your mother!” And sends him on his way. (Also, she doesn’t know that her child is alive.)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@AlwaysExploring

Hi Ruby! Yes, Pulp Fiction is a classic. Basterds is an amazing film…QT wrote this over a period of 10 years. Thank you for the visit, and for the encouraging comments. It made my day! Hugs, and have a great week. :-)


LCaverson profile image

LCaverson 2 years ago from Virginia Beach, VA.

I am not a big fan of Tarantino, I like movies with a happy ending. lol However, I agree that music - the score is the icing on the cake.


Nellieanna profile image

Nellieanna 2 years ago from TEXAS

No question that he is a creative genius in the mode he's chosen. Reading about his background and tumultuous early life led me to be more sympathetic with him. He is subtle and interesting, there is no doubt.

There was also no doubt of O-Ren's malevolence when she smiled with satisfaction when she downed Kiddo, and of his intention to point it out. Perhaps his message actually is to point out and recognize such pernicious prevalence of malevolence that does exist in the world, and is and has been, perhaps, always its dark underside. One cannot confront and deal with what is hidden or glossed over.

I must admit that I tend to want to "accentuate the positive" even though I know it can't "eliminate the negative" to do so! :-) Anyway, I don't mind looking squarely at reality and am always aware of it. I rather prefer it to be shown in its extremity-to-the-point-of-absurdity for the sake of those who might accept it as the only reality or choice.

I call myself a realistic optimist and an optimistic realist because reality exists but one's outlook of it is a personal choice. That is the main point to it all, in my opinion.

I like to be aware of the current choices that are offered because I'm always concerned about the effects of mass media on those who are just forming their life-views and are more and more conditioned by it to easily accept the media's reality for themselves, while overlooking other more tangible, but 'uncool', 'old-fashioned', everyday options for themselves.

(Amazing. The same as my Mensa score. Hope that doesn't detract from the importance of his! haha. I relate to some of his idiosyncrasies, in any case.)


mckbirdbks profile image

mckbirdbks 2 years ago from Emerald Wells, Just off the crossroads,Texas

I have seen many Quentin Tarantino's films. His peculiar form of genius leaves me shaking my head. I don't seek out his work. You bring to light for me his methods of melding music and image that I would not have considered. As always your presentation is first rate and your love of the cinema is clear.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@Dolores Monet

Welcome, Dolores. Thank you for your comments. :-) I didn’t see the ingenuous Basterds until very recently. I had to view it twice to fully understand it, which I hear is not unusual for this film. I liked Ennio Morricone’s scoring. I’ve only seen a few of his films, so I’m not an authority on the scope of his entire body of work.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@LCaverson

Greetings, and thank you! Yes, the music is the icing on the cake.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Nellieanna..

I like your “realistic optimist,” very much, and can relate to this. You bring up an excellent point about being aware of what our youth is exposed to in media/film. There is far too much horror/violence in film these days, without any moral code. I was surprised and saddened when a niece of a friend of mine recently mentioned that she thought Spielberg films were “boring.” She gave the film, “Lincoln” as an example. What does one say?

@MckBirdbks

Hi Mike…

Thank you. :-) QT was challenging in that he is not my favorite director and I’ve only seen a few of his films. But his music and soundtrack choices are amazing, and his direction really is new territory. I do think that Pulp Fiction is a classic. If cinema is done well (which doesn’t seem to be prevalent these days), then it is like a good book or story. It is the confluence of artistry that makes it stand out from others; and music which I love is an integral part of that poetry. I don’t see new films much these days…there doesn’t seem to be a lot out there that is worth viewing, my friend.


ocfireflies profile image

ocfireflies 2 years ago from North Carolina

Genna,

You are an incredible writer and this series of hubs demonstrate just how you are at bringing new light (especially in this case) to a

rather controversial artist. Excellent job as always and V+/shared as well. Both of my sons are movie nuts and have been enjoying your reviews, also. So you have all of my our votes.

Best Always,

Kim


suzettenaples profile image

suzettenaples 2 years ago from Taos, NM

Genna: This is another interesting article in your series. Music certainly sets the scenes in his movies and I can see why he uses rock and pop songs and music in this movies. I am not a Taratino fan and have not seen many of his movies, but I found this one interesting and informative.


DnWW 2 years ago

Wow. You captured the essence of Tarantino and encapsulated his work with soundtracks well. Inglourious Basterds was a film about WW II films but not everyone figured that one out. Thanks for presenting us with an article about this controversial genius. Thumbs up for excellent work!

Dana

Dana


Frank Atanacio profile image

Frank Atanacio 2 years ago from Shelton

you've covered some top folks.. but this one is the most violent.. I don't care too much for his work, but nonetheless he is so well known.. Pulp Fiction was the only one I almost sat through.. still you present them well and your hub/series are so worth the read


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@ocfirefires

Hi Kim. What a very generous comment…it made my morning. Thank you! And please thank your sons as well. Hugs.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

@suzettenaples

Not everyone is a fan of Tarantino, and I respect this. When I was discussing this hub with a friend recently, he said, “Quentin is an acquired taste.” Thank you for the visit and encouraging comments. :-)

@DnWW

Hi Dana. You asked about Tarantino, so I thought I would give him a try. I learned quite a bit about his creative process while researching this hub. Whether we are a fan or not, it is nearly impossible not to be impressed with his genius. Thank you!

@FrankAtanacio

Hi Frank. You are not alone, my friend. As I mentioned in my above comment to Dana, I learned much while researching this hub. I am fascinated with his use of music in film. As always, your visits are a pleasure. Thank you for the supportive comments. :-)


Eiddwen profile image

Eiddwen 2 years ago from Wales

Another wonderful share Genna.You give your all in your hubs and this is appreciated. Voting up and wishing you a great weekend.

Eddy.


Eiddwen profile image

Eiddwen 2 years ago from Wales

Another wonderful share Genna.You give your all in your hubs and this is appreciated. Voting up and wishing you a great weekend.

Eddy.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Thank you, Eddy! It is a delight to see you. :-)


teaches12345 profile image

teaches12345 2 years ago

Many people enjoy Tarantino's style and choice in music. Until now, I didn't realize what his accomplishments were. Thank you for sharing.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Thank you! I'm pleased you enjoyed the article. :-)


PegCole17 profile image

PegCole17 2 years ago from Dallas, Texas

Genna, There was no way I could pass this one up with two of my favorite things combined here - music and movies. I loved the music in Pulp Fiction even if I had to close my eyes from time to time to avoid the gore. That line you quoted was among my favorites from the film.

"Oh, I'm sorry. Did I break your concentration?"..."Please allow me to retort."

Cool hub.


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Hi Peg. Thank you! The dancing scene at Jack Rabbit Slims is precious. I so agree with you about that line uttered by Samuel Jackson...it has become iconic. Good to see you, and I hope you enjoyed your Memorial Day weekend. :-)


indianreel profile image

indianreel 2 years ago from London

Fantastic hub. It brought me back the awesome feel when listening to mumusimusic and songs in tarantino's films. Thank you :)


Genna East profile image

Genna East 2 years ago from Massachusetts, USA Author

Thank you for the visit and comment. I think that what makes Tarantino stand out is we are never really sure if the scene is written to the music that he uses from his vast collection, or if it's the other way around. He encourages us to look at music and soundtracks entirely differently.


Robert Sacchi profile image

Robert Sacchi 9 days ago

I enjoyed reading this Hub. I especially like the music in Tarantino films. In Kill Bill: Vol 1 I love "Flower of Carnage" and "Foolish Girl". I find it frustrating when TV stations cut the sound to Kill Bill: Vol 1's closing credits.


Genna East profile image

Genna East 5 days ago from Massachusetts, USA Author

Thank you, Robert. I had fun writing this series...and there's no one like Tarantino. The Flower of Carnage in the showdown between Kiddo and O-Ren that was cut to accommodate Esmeralda was a point of contention for many. I appreciate your visit and thoughtful comment.


Genna East profile image

Genna East 5 days ago from Massachusetts, USA Author

Robert: I meant to add that in the above scene restaurant scene from Inglourius Basterds, I remembered that music from somewhere. It was from the film, "The Entity." (I'm a fan of Barbara Hershey, so I thought I'd give the film a look some years ago. The music represents this unseen, vicious entity that attacks a woman; the film is based on a true story. I couldn't watch the entire movie; it's much too dark and horror movies are not my thing.) So inserting the same music to denote the entrance of the evil Colonel Hans Landa is probably the perfect metaphor. But for Tarantino to remember it and to use it in that sequence -- I mean, who does that? Quentin Tarantino.


Robert Sacchi profile image

Robert Sacchi 5 days ago

Yes, the references he puts into his movies are interesting. Many of them, such as his Speed Racer references are subtle and unnoticed until someone points it out.

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