Reservoir Dogs (1992)
by Steve Habrat
In 1992, the world was introduced to a jive talking video store clerk turned screenwriter, director, and actor. He made the uptight film snobs squirm (he still does) with the way he borrowed from 70’s trash cinema and made those searching high and low for a sleazy thrill giddy with delight. His name is Quentin Tarantino and the film that shot him into stardom was the bloody crime caper Reservoir Dogs, a film that has to rank as one of the best films from the 90’s. Extremely controversial with its violence (Wes Craven reportedly walked out of a screening of the film) and unapologetically funny (the analysis of Madonna’s ‘Like a Virgin’) even if it is incredibly crass, Reservoir Dogs is a smoothing talking throwback that doesn’t hide the fact that it is borrowing from forgotten cinema. Reservoir Dogs is a film that sucks the viewer in instantly; ripe with fast-talking criminals dressed in too-cool-for-school suits and black Wayfarers. Classic tunes from the 70’s blare over the soundtrack as these crooks, who look more like a 50’s rock n’ roll band than a bunch of jewelry thieves, strut in slow motion through a parking lot. It’s the sequence that is the epitome of cool, my dear readers, and it merely is setting the stage. That is the best way I can describe Reservoir Dogs, as a super cool caper that has the power to disturb and tickle, sometimes at the same time. I should also note that the film is incredibly influential, despite what some may say.
Reservoir Dogs introduces us to six thugs, Mr. White (Played by Harvey Keitel), Mr. Blonde (Played by Michael Madsen), Mr. Orange (Played by Tim Roth), Mr. Pink (Played by Steve Buscemi), Mr. Brown (Played by Quentin Tarantino), and Mr. Blue (Played by Eddie Bunker), who are all gearing up for the perfect heist. They find a leader in Joe Cabot (Played by Lawrence Tierney), a cranky and gravelly-voiced gangster, and his son, “Nice Guy” Eddie (Played by Chris Penn). Together, they plan to rob a jewelry store and it appears they have every angle covered. But something goes horribly wrong and the heist becomes a scene of stomach-churning carnage. Four of the thugs escape to a hideout where they begin to suspect that one member of the group may be an undercover police officer. Meanwhile, the police are gathering outside the hideout, ready to take the group down by any means necessary.
The overall setup of Reservoir Dogs is a pretty simple one but the film sets itself apart by never showing the viewer the heist. We only see the chaotic aftermath of it, allowing our imaginations to run wild. The small budget prevented Tarantino from showing us the heist but the dialogue is pretty graphic in its description to the point where I wasn’t sure I even WANTED to see it. The aftermath is disturbing, with Mr. Orange severely wounded by a gunshot to the gut, an injury that has him bleeding all over the joint. He squirms and shrieks in pain as Mr. White tries desperately to reassure him that he isn’t going to die. Meanwhile, two other group members were wasted in a hail of gunfire and we learn that the psychotic Mr. Blonde executed a handful of innocent civilians (one being only a young nineteen year old). If the bickering and the withering Mr. Orange isn’t enough to upset the viewer, Tarantino then delivers a terrifying and darkly comedic torture sequence that finds Mr. Blonde slashing a captured cop up with a blade and then hacking his ear off. It is a sequence that reportedly made Mr. Madsen a little queasy when he was filming it, especially when the cop adlibbed “I got a little kid at home!” Mr. Tarantino goes for the throat and he never even flinches while doing it.
Savagery aside, Reservoir Dogs is loaded with explosive performances from almost everyone involved. It is constant tug of war between Madsen’s Mr. Blonde, a psychopath who enjoys torturing his victims before he puts them out of their misery and Keitel’s Mr. White, a fatherly figure who isn’t afraid to get a little nasty himself when his back is against the wall. Madsen steals the show with his steely glares and you’d never guess that he got a queasy tummy while filming the notorious torture sequence. And then there is Buscemi, a smart but wimpy gangster who smells something rotten in the group. Buscemi is the king when it comes to playing oily low lives like this and I have to say Reservoir Dogs finds one of his best performances. Roth sends chills down your spine as the wounded Mr. Orange, really doing a lot with a role that demands he lay on the ground and bleed out. It never gets any easier to watch him shriek in pain in the back of a car and wither around in agony. All I can say is I hope I never, ever get shot in the gut. Penn and Tierney bring plenty of hotshot swagger as “Nice Guy” Eddie and Joe Cabot. Tierney is especially intense as Joe, the glaring don who does put up with any shenanigans or backtalk for his team. Tarantino and Bunker do well with the small roles they have but I would have liked to see a bit more from their characters, especially Mr. Blue. Tarantino gives rich back-stories for the thugs yet he leaves out ones for Mr. Brown and Mr. Blue, which doesn’t really make any sense to me. The only theory I have is possibly the tiny budget prevented him from doing anything further with the characters.
Reservoir Dogs is the film that introduced the world to the “Tarantino style” of filmmaking, which includes drawn out conversations and colorful exchanges between the characters, use of ironic music, nonstop film references, and chilling bursts of violence. Some say that this style has ruined film (mostly film professors that are steaming mad over the fact that Tarantino never went to film school and educated himself on film by taking trips to the local grindhouse) and made it unoriginal considering that Tarantino enjoys nabbing his favorite scenes from old exploitation cinema and stitching them all together. I have to disagree that his work is unoriginal considering that he fashions these references into unique creations that could only come from Tarantino’s mind. I really don’t think anyone else could have made Reservoir Dogs as likable as it is and trust me; this film contains some seriously shocking moments that make it a tough pill to swallow. Overall, Reservoir Dogs is maddeningly simple, wickedly funny, and waiting to spring one hell of a twist on the viewer near the end of the film (trust me, the reveal is really awesome). It is best going into the film with as little knowledge of the film as possible and it is one that you won’t soon forget after you’ve seen it. Good luck listening to ‘Stuck in the Middle with You’ the same way ever again.
Reservoir Dogs is available on Blu-ray and DVD.
Posted on December 22, 2012, in REViEW and tagged 1992, chris penn, crime thriller, eddie bunker, gangster movies, harvey keitel, independent cinema, lawrence tierney, michael madsen, quentin tarantino, steve buscemi, thrillers, tim roth. Bookmark the permalink. 5 Comments.