The 411 Movies Top 5 08.21.09: Week 179 - Top 5 Quentin Tarantino Scenes

Posted by Trevor Snyder on 08.21.2009

In honor of his new film, Inglourious Basterds, the 411 crew takes a look at the Top 5 scenes from writer/director Quentin Tarantino.




Today, we find out of any scenes from Inglorious Basterds will need to be added to these lists. But, for now, we celebrate that which came before, with a look at:

THE TOP 5 QUENTIN TARANTINO SCENES

TREVOR SNYDER

HONORABLE MENTIONS

The final act of Death Proof - Tarantino's loving tribute to ‘70s exploitation wasn't everyone's cup of tea, but it's hard to deny the excitement of the final act, as the director reminded us that it is still possible to deliver heart-stopping car chases without the aid of CGI.

Adrenaline to the heart, in Pulp Fiction - a mini-masterpiece of editing. No matter how many times you see it, the tension is still palpable…and you probably still jump a little when Uma suddenly comes to.

THE TOP 5

5."Bring out the Gimp," in Pulp Fiction

Try to think back to the very first time you saw Pulp Fiction. Remember how f'n crazy and out of left field this whole sequence was? Wasn't this just a regular (if extremely well-made) crime movie a moment ago? Now all of a sudden we have two of our main characters tied up, and a couple of redneck rapists preparing to have their way with them while a leather-clad slave looks on. The whole sequence just keeps better and better, as we watch Bruce Willis not only decide to save his arch-enemy from their hands, but there is that great moment where he then has to decide on a weapon to do so with. And, of course, it culminates in Ving Rhames' classic "I'm gonna get medieval on your ass" speech. A completely bizarre turn of events that still somehow manages to never feel out of place. It's scenes like this that the legion of Tarantino imitators could never quite deliver.

4. Mr. Blonde tortures the cop, in Reservoir Dogs

One of Tarantino's trademarks is his amazing ability to blend image with music, and that's certainly shown off here, as Mr. Blonde sadistically tortures a police officer to the tune of "Stuck in the Middle with You" (and I love the little touch that when he leaves the warehouse to go to his car, the music actually stops, since he is out of range of the radio). To this day people swear that the cutting off of the ear is an incredibly gruesome and gory moment, even though the version of the scene that made it into the film never shows the actual ear-severing. That's just how powerful the scene is – it tricks you into thinking you've seen something that you actually haven't.

3.The House of Blue Leaves, in Kill Bill Vol. 1

Following an extended break after the somewhat underwhelming Jackie Brown, I don't think many of us knew what to expect from Kill Bill. What we got was an important turning point in Tarantino's career, as he suddenly morphed from someone who many had hailed as "the next Scorsese" into the reigning king of exploitation. Not that there's anything wrong with that. It just means his movies now pack even more of a visceral punch, as evidenced by the unbelievably gory – and excellently choreographed – sword battle in the House of Blue Leaves. No matter how many times I watch this sequence, it brings a smile to my face each time.

2. Clifford Worley tells Vincenzo about the history of Sicilians, in True Romance

When you think of director Tony Scott, you don't really think of intimate character moments. But things are a little different when Scott is working off of a Tarantino script. For instance, we have this moment, one that I would probably show to my students if I was ever to teach an acting class. Clifford Worley (Dennis Hopper) is at the mercy of gangster Vincenzo (Christopher Walken), who is after Clifford's son, Clarence. All Vincenzo wants is to know where Clifford is, but instead Clifford tells him a long (and quite funny) tale of the truth behind Sicilian roots. There's something darkly beautiful about this moment – Clifford knows he is going to be killed no matter what, but he fears that if he is tortured first, he might actually give up information about Clarence's whereabouts. So, instead, he consciously decides to insult Vincenzo's heritage, angering him so much that he kills Clifford instantly. That's love…in a weird, messed up way. Of course, the mobsters find Clarence's location simply hanging on Clifford's fridge moments later, lending the scene another level of dark humor/sadness.

1. The opening scene in Reservoir Dogs

I'm not claiming that is the most exciting scene on my list, but it deserves the top spot for a couple reasons. First of all, it's the very first scene in the very first Tarantino movie, and so it actually served as our introduction to the man. Normally, that wouldn't be that big of a deal, but this scene actually is a perfect encapsulation of what makes Tarantino who he is. How many other writer/directors would start a movie about a diamond heist with a long sequence of the gang simply sitting around a restaurant table, discussing such trivial things as Madonna songs and whether or not tipping is necessary? And even if other filmmakers did do that, how many could actually make that conversation interesting enough that the audience is completely riveted the entire time?

SHAWN S. LEALOS

HONORABLE MENTIONS

Hostage situation in From Dusk Till Dawn - I am talking about the scene where Seth Gecko walks in and finds his brother Richard has done unspeakable horrors to the female hostage they took. It went from horror to brotherly love in the most disturbing way possible.

Ordell talks guns - This scene is near the start of Jackie Brown where Ordell, Louis and Melanie sit in the living room of the apartment. Ordell narrates the video playing on the T.V., an infomercial for guns featuring girls in bikinis. Between the absurdity of the video and Ordell's explanations of what we're seeing, it is perfect Tarantino.

Vincent and Jules talk on their way to a hit - From the legalities of hash bars to what a quarter pounder is called in France to the nuances of foot massages it is a perfect conversation.

THE TOP 5

5. The final scene in Four Rooms

Tim Roth has had one hell of a day in this movie directed by four different people. In the last section, directed by Tarantino, he is asked to take part in a game where he must cut off a man's finger if a lighter does not light and the end results are hilarious.



4. The battle at the House of Blue Leaves

This is just brilliant. Here, for your pleasure is the FULL COLOR Japanese version, with all the blood and guts U.S. audiences missed...



3. True Romance - Sicilians were spawned by niggers

I have read some inaccurate reports that the Sicilian scene was mostly improvised. Well, I have the original shooting script and, with the exception of very small improvisation adding words, it reads exactly how Tarantino wrote it. This scene is brutal, interesting and sounds like Tarantino.



2. The opening of Reservoir Dogs

The entire conversation at the breakfast table is a perfect example of Quentin Tarantino's dialogue. Whether it is the debate over the actual meaning of Madonna's "Like a Virgin" or Steve Buscemi's misguided views on whether to tip or not, this is the scene that introduced the world to Tarantino speak. To reacquaint you with the dialogue: While "True Blue" is about a nice girl meeting a sensitive boy, "Like a Virgin" is about "a cooze who's a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick ... Then one day she meets a John Holmes motherfucker, and it's like, whoa baby. This mother fucker's like Charles Bronson in "The Great Escape". He's diggin' tunnels. Now she's getting' this serious dick action, she's feelin' something she ain't felt since forever. Pain. It hurts. It hurt's her. It shouldn't hurt. Her pussy should be Bubble-Yum by now. But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what it was like to be a virgin. Hence, "Like a Virgin." It is a brilliant speech and set a bar so high, he couldn't even reach it a decade later when he switched the gender of his actors and attempted to recreate the glory in Death Proof.

1. Ezekiel 25:17

"The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you."

LEN ARCHIBALD

HONORABLE MENTIONS

Opening Credits of Reservoir Dogs - What is the definition of cool? To me, a bunch of suit-clad men in skinny ties (and Chris Penn) marching to the beat of their own drummer as George Baker Selection's "Little Green Bag" plays should be in a DVD-encoded version of the dictionary beside that word.

Anytime Sam Jackson was in Jackie Brown - Seriously, was there anyone more hip to the hip-talk with a sweeter vibe than Samuel L Jackson in the films he appeared in from 1994-1999?

Anything from Kill Bill Vol. 2 - I liked the second installment of Quentin's revenge-opus better overall than the first, but I think that is because this felt like more of a "complete" film to me compared to Vol. 1, which was just a compilation of AMAZING set-pieces that turned into a great time at the movies; therefore, I'm hard-pressed to think of any particular "moments" because the film as a whole was great.

THE TOP 5

5. Butch vs. Marcellus Wallace (vs. Zed and the Gimp)

Why is Pulp Fiction so revered by fans? My #1 may be the penultimate moment that ascended it from "movie" to "film", but this scene has been quoted, parodied, spoofed and imitated so many times it's almost tiring. The brilliance of Pulp Fiction is that it is a film that contains many short films, yet all serve the overall arc of the story. The iconic scene mentioned here is great in its randomness; Bruce Willis' Butch the Boxer had just Pop-Tarted Vincent Vega while retrieving his prized watch. On his way back to his hot French girlfriend who likes to give and receive "oral pleasure", he halts at a stop light. Who should cross the street (with a box of food, no less) but Samoa-Busting Marcellus Wallace, the man who Butch is trying to get away from.

"Motherfucker…"

The rest, from the daytime L.A. shootout, Toshiro Mifune possessing Bruce Willis, Ving Rhames declaring how he's going to get "medieval" – to the denouement of "Zed's dead, baby…" is history.

4. The Final Chase in Death Proof

I have stated many times that Planet Terror, in my opinion, is the superior of the two Grindhouse films, but there is no better action set piece over the past five years that rivals the final car chase that concludes Death Proof. Tarantino is maddening in his talent in comparison with Eminem as a rapper: Sometimes, he hides in the vices that made him a superstar and shows no artistic growth, but there are moments that when he wants to – no one on the PLANET can touch him. Tarantino may have disappointed some fans with Death Proof, but that scene more than made up for it – This rivals Bullitt, Ronin and The French Connection for the greatest chase scenes ever shot.

3. The Opening Credits of Kill Bill Volume 1

Kill Bill – both volumes rocked pretty much everyone's face off. The action was intense in Vol. 1 and the character study was off the chart in Vol. 2 (I actually prefer the more western-themed Vol. 2 over the Kung-Fu goodness of Vol. 1 because of this), but there is no denying the absolute greatness that is the opening moments of Kill Bill. Everything, from the old school 70's drive in "Feature Presentation" banner to the suddenness of Bill's vengeance on his "Bride", this was just virtuoso filmmaking. The ultimate coup, though – is the opening credits as The Bride lay in a coma while Nancy Sinatra sings "My Baby Shot Me Down". Tarantino just KNOWS how to open a film. He may in fact be the best in the world at hooking a viewer from the first frame.

2. Friends, Romans, Mr. White…Lend me your EAR: Reservoir Dogs

Tarantino as Hitchcock (BLASPHEMY!) Let me explain. As crazy as Michael Madsen's Mr. White character was - shucking and jiving to the tune of Steelers Wheel's "Stuck in the Middle With You" while torturing a captured cop, who he just felt like torturing because he's bat-shit insane - the REAL insanity is Tarantino's use of audience perspective. We NEVER see the ear being cut off, but I can't count the amount of people who describe that scene to me like they did. We never saw the knife enter Janet Leigh's flesh in Psycho, either – but the self-imposed imagery that Tarantino presented here was a lightening bolt to the movie-going public, and the revelation that the next great American filmmaker out from the ashes of the Lucas, Coppola, Spielberg and Scorsese generation had arrived.

1. Jules preaches the TRUTH in Pulp Fiction

Yes, we all know the quote from Ezekiel 25:17 and we know that Samuel L. Jackson is a righteous badass that strikes down upon thee with "GREAT VENGEANCE AND FURRRRIOUS ANGER", but it wasn't until his little mini-monologue at the end of Tarantino's perfect film, directed at Tim Roth – that we were able to see that he could ACT. Jules' tone as a man who murders turning over a new leaf was one of the most poignant moments in film, displayed that Sam Jackson - even as a philosopher - was the baddest muthafukka on the planet; and showcased Quentin Tarantino as a writer, was more than just obscure pop-culture references and witty dialogue. This is his best shot, best cut, best directed, and best acted moment in ANY of his films. This moment placed Pulp Fiction on that next level – the one that separates a great time at the movies into a profound one.

BRYAN KRISTOPOWITZ

HONORABLE MENTIONS

The "ear" scene in Reservoir Dogs - I can remember reading about this scene in movie magazines and all of the hooha on how sick and brutal it was. Of course, it wasn't as big and nasty and brutal as advertised, but it is quite funny in a sick way. I love how the camera turns to the side so we don't see Mr. Blonde actually cut the cop's ear off.

Diamond heist aftermath in Reservoir Dogs - One of the few "cinematic movie moments" in Reservoir Dogs and where we get to see the big hooha diamond heist go all to shit. It's a great scene that features Harvey Keitel shooting two guns. That, for me, ends up being the one thing I think of more than anything else when I think of the movie.

Slow motion cast walk in Reservoir Dogs - The cast walks in slow motion across the parking lot with "Little Green Bag" playing on the soundtrack. Pretty much any modern movie that has a scene where someone walks in slow motion is a call back to this.

THE TOP 5

5. Girls' revenge, in Death Proof

In an overall sense, Death Proof is a pretty weak movie. The whole first section drags and drags and drags, and while there's a great horrendous car "accident" to finish it off, it isn't much of a pay off. Now the second half of the movie, where Stuntman Mike messes with Kim, Abernathy, and Zoe and then lives (or doesn't live) to regret it is outstanding. The very second that Mike gets shot in the arm, you just know that the shit is about to go down. And that's exactly what happens. A great car chase, our villain crying like a little girl, and a final, hellacious beating. That last shot of Abernathy (Rosario Dawson) lifting her oh so yummy leg and smashing Mike's face is just awesome. That's how you kill a scumbag.

4. Trailer fight between Elle and the Bride, in Kill Bill Vol. 2

This is a nifty little big fight that takes place in a trailer. The swirly thing, the low ceiling bit, and the big sword standoff and subsequent eye plucking are all great stuff. It's also cool how we never find out if Elle survived the eye plucking. What did she do afterwards anyway? It's fun to speculate. I mean, Tarantino did, in the end credits, sort of say that Elle could still be alive. I'd like to think that she is, but who knows?

3. Bill's deleted scene, in Kill Bill Vol. 2

One of my big complaints about Kill Bill Vol. 2 (a movie I quite like, by the way) is the lack of Bill in action, showing us just what kind of a threat he really is. We see him at the beginning sort of ordering the Vipers into the church, and we see him in his living room with the pistol. Is he dangerous? Yeah, sort of. But why don't we ever get to see him, you know, kick some ass in person? In the deleted scene on the DVD featuring Michael Jai White with a "Kiwi" accent (I actually saw it on youtube), we get to see Bill in all his deadly, ass kicking glory. It's a short little scene, yes, but it gives us just enough reason to believe that Bill isn't just some smooth talking psychopath. The dude can back it up. I really don't know why Tarantino didn't include the scene in the movie. I'd imagine he cut it for pacing reasons. It's a shame, though, that it got cut. It would have made, in my opinion, vol.2 complete.

2. Opening diner scene, in Reservoir Dogs

This, of course, is the big opening dialogue scene where the main cast sits in a diner and has a conversation about Madonna's "Like a Virgin" and then whether or not it's appropriate to tip a waitress. Why are they having this long ass conversation? To pass the time? Because they have nothing else better to do? It sure seems like it. But that's not a bad thing. It's a good thing. We get to hear a funny, thoughtful, insightful conversation about something rather inane, and it gets the movie's "ball" rolling. It only gets better with each viewing and listen.

1. House of Blue Leaves massacre, in Kill Bill Vol. 1

Just a modern masterpiece of bloody brutality and martial arts hooey fun. The uncut Japanese version that appears in full color is obviously the more honest scene in terms of what the Bride is all about and what she's willing to do to get her revenge. She's a one woman slaughter machine. But the "cut" version, the one that turns black and white right in the middle of the scene, to me, is the better because it's more fun. It makes the sequence ridiculous, but ridiculous in a good way. Just awesome, awesome stuff.

STEVE GUSTAFSON

5. Crimson Tide

It was next to impossible for me to boil down so many masterful scenes from Quentin Tarantino. With my list I'm shining a spotlight on some of his works in script writing that I'm jealous of and stand out to me. Now you might say, "Steve, he didn't write Crimson Tide." And you would be right. But Tarantino actually had an uncredited writing piece in this submarine classic. When the film's producers realized that the dialog was a bit...dry, Tarantino was brought in to spice it up with his own style. While it might not be obvious throughout the movie what he did, one scene stands out that is pure Quentin. Right after a scuffle we get this gem:

Hunter: Rivetti, what's up?
Petty Officer First Class Danny Rivetti: I'm sorry, Sir. It's just a difference of opinion that got out of hand.
Hunter: What about?
Petty Officer First Class Danny Rivetti: It's really too silly to talk about, Sir. I'd really just forget about...
Hunter: I don't give a damn about what you'd rather forget about. Why were you two fighting?
Petty Officer First Class Danny Rivetti: I said, the Kirby Silver Surfer was the only real Silver Surfer. And that the Moebius Silver Surfer was shit. And Bennefield's a big Moebius fan. And it got of hand. I pushed him. He pushed me. I lost my head, Sir. I'm Sorry.
Hunter: Rivetti, you're a supervisor. You can get a commission like that.
[Snaps finger]
Petty Officer First Class Danny Rivetti: I know, Sir. You're 100 percent right. It will never happen again.
Hunter: It better not happen again. If I see this kind of nonsense again, I'm going to write you up. You understand? Do you understand?
Petty Officer First Class Danny Rivetti: Yes, Sir.
Hunter: You have to set an example even in the face of stupidity. Everybody who reads comic books knows that the Kirby Silver Surfer is the only true Silver Surfer. Now am I right or wrong?
Petty Officer First Class Danny Rivetti: You're right, Sir.
Hunter: Now get out of here.
Petty Officer First Class Danny Rivetti: Yes, Sir.

4. True Romance

This movie gets a lot of hardcore love from Quentin fans but not as much attention from the mainstream. I think one of the reasons is the script is ahead of its time. Sharp, biting, and raw. I could give you a link of the full screenplay but instead will tell you to just watch this movie (again) and see a young Tarantino just going to town. What make it even better is the cast all came to the game ready to play. I quote the first lines of the movie because it sets the tone so well. Could QT be talking about himself here?

Clarence Worley: In Jailhouse Rock he was everything rockabilly's about. I mean, he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothing except rockin' and rollin', living fast, dying young and leaving a good-looking corpse.

3. Kill Bill: Volume One

I'm a fan of Kill Bill even though I think it's a bit uneven in places and drags in others. While not my favorite work of his, I still believe it's better than a lot of stuff Hollywood puts out. Easily one of the coolest parts involves the descendant of real life legend, Hattori Hanzo. In Kill Bill, the incredible Sonny Chiba plays Hattori Hanzō, a master swordsmith who is called upon to create a katana for the Bride. QT nails it and makes me wish he would go full tilt and do a martial arts flick. Here's a bit of dialogue:

Hattori Hanzo: I am finished doing what I swore an oath to God 28 years ago to never do again. I've created, "something that kills people." And in that purpose, I was a success. I've done this because, philosophically, I am sympathetic to your aim. I can tell you with no ego, this is my finest sword. If on your journey, you should encounter God, God will be cut.

2. Reservoir Dogs

While credit has to be given to the actor's in the scenes for their superb ability to pull off the tense emotional roller coaster this film provides, an even bigger nod has to be given to the man who gives them the tools to work with. This movie is one of the best heist films that never shows the heist. In fact, I can't name another that comes to mind that beats it. The relationships between the characters is so real and each actor takes his lines and hammers it. I met Michael Madsen once and was a bit apprehensive because I just saw him as the "Ear Scene" guy. Even with all the accolades this movie gets, still underrated.

Mr. Orange: What happens if the manager won't give you the diamonds?
Mr. White: When you're dealing with a store like this, they're insured up the ass. They're not supposed to give you any resistance whatsoever. If you get a customer, or an employee, who thinks he's Charles Bronson, take the butt of your gun and smash their nose in. Everybody jumps. He falls down screaming, blood squirts out of his nose, nobody says fucking shit after that. You might get some bitch talk shit to you, but give her a look like you're gonna smash her in the face next, watch her shut the fuck up. Now if it's a manager, that's a different story. Managers know better than to fuck around, so if you get one that's giving you static, he probably thinks he's a real cowboy, so you gotta break that son of a bitch in two. If you wanna know something and he won't tell you, cut off one of his fingers. The little one. Then tell him his thumb's next. After that he'll tell you if he wears ladies underwear. I'm hungry. Let's get a taco.

1. Pulp Fiction

Top to bottom, one of the best scripts ever! I have a copy of this that I flip through on occasion and marvel at the how perfect it is. I can't pick a favorite scene. But I will touch on a favorite character. The Wolf played by the most criminally underused man in Hollywood, Harvey Keitel. Seriously, would it be so hard to give this guy work? How about a movie spun-off about the Wolf? Call it The Wolf: I Solve Problems and go to town. Anyways, here's some dialogue:

The Wolf: You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie?
Jimmie: Uh, one hundred percent.
The Wolf: Your wife... Bonnie comes home at 9:30 in the AM, is that right?
Jimmie: Uh-huh.
The Wolf: I was led to believe that if she comes home and finds us here, she'd wouldn't appreciate it none too much?
Jimmie: [laughing] She wouldn't at that.
The Wolf: That gives us exactly... forty minutes to get the fuck out of Dodge. Which, if you do what I say when I say it, should be plenty. Now, you've got a corpse in a car, minus a head, in a garage. Take me to it.

Give Harvey work! Please!