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Quentin Tarantino’s DeathProof (2007) – Trailer Included
A high powered box office death machine?
John Doe’s trip to the U.S of A was filled with visits to cinematic landmarks and the odd historical monument but the greatest pleasure derived from the journey was access to DVD’s currently unavailable in Australia. Due for a bigscreen release in Oz on November 1st JD was lucky enough to grab the 2 disc unrated Special Edition of Mr Tarantino’s latest schlock celluloid salute.
The Poster
Starring:Rose McGowan, Kurt Russell, Rosario Dawson, Sydney Poitier, Tracie Thoms, Vannessa Ferlito, Zoe Bell, Eli Roth, Jordan Ladd
“I'm not a cowboy, Pam... I'm a stuntman.” – Stuntman Mike
Constructed on a foundation of sexual and violent, high concept exploitation, the Grindhouse cinema of the 1970’s was meant to entertain a small band of sicko’s and repel the masses. Generally a single warped concept created an eye catching poster that low budget filmmakers penned a script around. Often screening as a double bill at the drive-in these were genre pictures that were propelled by an inventive combination of subversive button pushing and striking pop culture imagery.
Tarantino’s Death-Proof fits snugly into this classic mold and unashamedly salutes the actual speed automotive destruction gems like Dirty Mary, Crazy Larry and Vanishing Point which are cited in the script on several occasions. Taking elements of The Hitcher this is the story of Stuntman Mike’s (Kurt Russell) reign of twisted metal terror.
“Hey, Pam, remember when I said this car was death proof? Well, that wasn't a lie. This car is 100% death proof. Only to get the benefit of it, honey, you REALLY need to be sitting in my seat.” – Stuntman Mike
In typical fashion the plot is simple, 3 sexually extroverted female victims are heading away to daddy’s lakehouse but are sidetracked by booze and boys. Inebriating themselves at a bar and flaunting their wares, enter the psychopathic thrill seeker with a muscle car reinforced to become “Death-Proof”.
Soon blood will drip down the windscreen, black tyre marks are left on the asphalt as lust and desire are mutilated into a sick display of mechanical prowess. But that’s only half the story with the next 45 minutes seeing the tables turned when a new set of girls make the hunter into prey.
“It was a fifty fifty shot on whether you'd be going left or right. You see we're both going left. You could have just as easily been going left, too and if that was the case... It would have been a while before you started getting scared. But since you're going the other way, I'm afraid you're gonna have to start getting scared... immediately!” – Stuntman Mike
The striking Colourful femmes - just get out and have a drink
John Doe Says:
Sure this a misogynistic, sexist empty vessel that reeks of petrol fumes but that’s the point. For those who dig the old school style chase films with CG free death defying driving work and a genuine fear that someone may die for the good of the shot look no further.
The benchmark aimed for here may be low in some eyes, but it’s easy to enjoy the dialogue heavy affair that takes its time meeting the ultimate destination of 4 wheel, big block engine mayhem and revenge.
Moving one of his chess pieces
An eclectic soundtrack propels the visuals. Unashamedly tacky sexploitation replaces character and story development, frames burst with breasts, legs and butts (plus of course feet). Sticking to its inspiration there are times when nothing much happens, there is very little exposition which means the joy comes from the guilty pleasure of words and situations.
Guaranteeing the villain is the coolest dude in the show by the time Kurt swaggers in to the bar we are barracking for him to unleash his gory desires.
The stunt work is breathtaking, the mangled high octane instruments of death seer images into the mind. The appropriately tattered appearance of the film stock and crash cut editing maintain a retrospective atmosphere as if we are just now seeing a movie 30 years after its release.
The woman all slot into the landscape carrying themselves with an appropriate lack of trashy consciousness. Rose McGowan (Jawbreaker, Doom Generation, Nowhere) and Rosario Dawson (Sin City, A Guide to Recognizing your Saints, 25th Hour) seem in there element, scantily clad and bimboing it up.
Vanessa Ferlito (25th Hour, Spiderman 2) ups the vamp tramp quota while Sydney Poitier and Tracie Thoms (Wonderfalls) remain the most likeable of the two vixen packs.
A conglomerate of his past, Kurt Russell (Escape from NY, Big Trouble In Little China, Tango and Cash, The Thing) brings the baggage of Snake Plisken, Jack Burton and his other Carpenter co productions adding pleasure to watching this evil persona.
Obviously John Doe is biased because he loved this type of no holes barred filmmaking the first time round and has been hugely influenced by the movies it homages. Death-Proof won’t win any industry awards or convert non-believers but as with many of the celluloid contributions cited on JDMfilmreviews it is aware of it limitations and will satsify those who know what to expect before the curtain raises in a dark, dingy movie-house.
The abysmal response to the Robert Rodriguez/Quentin Tarantino presents Grindhouse twin feature serves to emphasise that the brash pair have succeeded in their goal. After all this was never meant for the mainstream, it also highlights the publics misconception of the Director’s work which has always existed to recreate the schlock entertainment he loves not revolutionize cinema.
*****SPOILERS INCLUDED****** Lap dancing missing and mangled bodies, a fun clip from the film
the foot fetish opening Credits for Death-Proof
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