#Reservoir dogs stuck in the middle with you movie
The movie is " Reservoir Dogs," a booby-trapped heist-gone-wrong postmortem released 30 years ago that turned out to be an adrenaline shot to the heart of the American Independent film movement. Brown, a member of a gang of jewel thieves, portrayed by writer-director-costar Quentin Tarantino. This scene quickly became iconic and would set the standard for the genius of Tarantino’s future needle drops."Reservoir Dogs" represents a changeover in power as the Baby boom generation's vise-grip on the culture starts to give way to the burgeoning Generation X.Īnd just like that a revolution was sparked. Blonde’s performance, lively song, and sadism all work together to distract the viewer from the shocking twist. Blonde pulls the tape off Officer Nash’s face and he starts screaming, begging for his life, and yells at him to stop ironically at the exact moment the song ends. The shot’s tightness makes you really feel “stuck in the middle” with them. When the peppy music picks back up again, Blonde dances and pours gasoline on the officer. Blonde returns, the song’s slowed-down pace adds a sense of impending doom and the cowbell sounds like a cruel countdown to Officer Nash’s death. Tarantino timed the scene exactly so that the song would be playing on the correct part in the amount of time it took Mr. The juxtaposition between the tranquil exterior sounds and the garish savagery taking place inside is both jarring and disturbing.īlonde enters the warehouse with a can of gasoline and the sunny song still rings out. The music fades into the distant sounds of children laughing and birds singing when he walks farther away. Blonde outside the warehouse and back inside in one continuous shot. He holds the officer’s severed ear and jokingly speaks into it, “Can you hear that?” The bopping rhythms of the song makes this act of brutality even more unsettling. When Madsen enters the frame, we see his grisly handiwork. Tarantino holds on the warehouse walls while we hear the officer’s screams off-screen. Blonde slashes the Officer’s face then grabs him as the camera pans left. Blonde’s preening, unmercifully delaying officer’s torture. He wonders what he can do to get out of this situation. He truly has “the feeling that something ain’t right.” The officer is stuck between the clowns and jokers, or criminals, he has to defend himself from every day. His chilling groan sounds horrifying against the toe-tapping rhythm of the 70s hit. The walls spin behind him like the panicked thoughts running in his head, hinted in the song’s lyrics about being scared. Kirk Baltz projects Officer Nash’s profound terror through only his bulging eyes. Blonde does a little shuffle to the steady opening bass line, prolonging his victim’s fears. After taking a razor out of his shoes he asks, “Do you ever listen to K-Billy’s Super Sounds of the 70s? It’s my personal favourite.” He tells Officer Nash that it is fruitless for him to pray for a quick death. Blonde (played by the suave Michael Madsen) relishes in torturing his latest victim. Stealers Wheel’s bouncy “Stuck in the Middle with You” lends impish humour to what is otherwise a terrifying scene. The use of pleasant, upbeat music countering a scene of violence is nothing new (seen in American Psycho with “Hip to Be Square” or “Orinoco Flow” in The Girl With the Dragon Tattoo) but none have executed it as well as Tarantino. There are countless soundtrack scenes in Quentin Tarantino’s canon, but let’s look at how his debut Reservoir Dogs demonstrated his initial flair for musical moments.
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