you know what it isn’t-proof? boner-inducing proof. as much as planet terror is a fetish film for the chemical and physical nature of film prints, death proof is a movie where qt lays many of his own personal fetishes bare. the movie starts with a close-up of a pair of bare female feet propped up on a dashboard and there’s a lot of attention paid to female anatomy both north and south of the ankle in the film. qt loves certain actresses, and he will buy practically any film if it’s got one of his favorite actresses in it. if you ever have the chance to meet him, ask him to explain his childhood fixation on tatum o’neal, and then set aside a half-hour or so for his best malicious answer of a childhood excised. he comes across as swagger personified, but he’s also totally emasculated in parts. tarantino certainly enjoys flirting with the cold-blooded tropes of iconic masculinity. who says the media isn't implicated in violence? when asked how he feels about the missiles fired from the gaza strip, tarantino said, “i’m not scared at all. like everyone else here, i don’t really notice it.” pretensions to masculinity are, then, actually and specifically portrayed as pretensions — and ones to which the man himself steadfastly fails to live up hardly in the glorious blaze-of-phallic-firearms mode. on the contrary, his two kills are predicated on the most tawdry kind of betrayal. in both instances, he uses his personal relationship with his employees to maneuver them into situations where he can simply shoot them mid-conversation at point blank range. when he goes after someone smart enough not to trust him, he ends up, in the first case, with a gun pointed at his melting crotch. later, when he tries it again, he ends up dead: “there was a city-wide siren going on and that's letting you know that the hamas missiles are on their way. and then i take my fifteen month old son and my wife and we go down into a bomb shelter,” tarantino said. he also teased that he plans to make only one more movie and that he is considering making israel his backdrop: “if you make a movie in jerusalem, there’s nowhere you can point the camera where you’re not capturing something fantastic.” but in the end it’s dutiful boringness, lived-in face, and hair implants who ends up as the movie’s icon of masculinity. in his interview on real time with bill maher, tarantino described life in tel aviv as being similar to life in los angeles. he said both have “magnificent restaurants, cool bars, cool clubs,” although tel aviv is smaller. part of that masculinity comes from taking responsibility for his own choices and his own limitations. that was the first impetus to do it. for the last three or four years i’ve had a whole lot of different female friends. i have different clusters of female posses that i hang with. i’ve got male friends too but the dynamic of a bunch of girls that hang out together has been more my reality for the last few years i get to hear all the stuff they talk about and joke about. their camaraderie. and most of the girls in this movie are based on one person or a combination of this person and that person but i knew i wanted to follow these girls it just presented itself this chance to introduce this group of girls we’re all hanging with them and hanging with them till something happens. it’s like watching a cobra toying with something before moving in for the kill. snake, indeed. it is notable that the explosion of violence the destruction of our friends always follows the most sexually-charged moments in qt’s filmography. maybe the government will put some “don’t be a pussy” drug in the water supply and everyone will go see this instead of pillow fight and scented candles and boredom or whatever sandra bullock movie’s coming out. even excised (denied) the lapdance scene triggers a rage a panicked response to gender euphoria. it’s all about character and emotion, and it’s not just a collection of hollow gags. it actually causes my pulse to race each time i sit through it i find myself almost unable to sit still. it’s thrilling precisely because of how much time qt takes to set the moment up because of how much he asks us to invest in these women and their situation. death proof is a total original, and it’s one of the most personal things quentin has ever put on film. if you want to understand him as an artist, death proof is a vital piece of the puzzle and it’s what elevates grindhouse from a fun evening at the movies to something truly great. oh…and that missing reel in death proof? one of the most brutal, malicious bits of cinematic blue balls ever. you are a cold cruel man mr. tarantino and i applaud you for it.
using every part of your body, he — do you think he gets off on it? burying you beneath feet of cinematic gesture? your life a flicker a flourish a vampire loose on the rodriguez backlot do you think he cares? does he see you like really see you? are you even trying to land this role? smoke his bomb ass weed pour piss yellow chartreuse do it he’ll leave you he’ll dooo it he won’t fuck you he’ll leave you leave you alone promise promise baby you’ll be like kurt russell at the end of the thing right? no resolution no one cums we’re doing everything but the thing! right here in this facsimile in the warmth of your body you are immortal insofar as you are already dead already carefully preserved in precious celluloid everything is celluloid holy veins extending into infinity razor wire you can taste visages arteries baked in it has to be this it has to be physical 35mm i’m 35mm i’m telling you it’s all a reference. everything follows something with a taste of your lips i’m on a ride in hot pursuit you’re in your car following the white dodge challenger from vanishing point like the real one from that movie (you’re cool you know that movie too) the other car is like the real car from vanishing point but your car is like the pussywagon or something haha you’re riding shotgun all right you feel his hand on your leg and you’re suddenly made aware of your meat status you embody the term “set piece” baby shots first questions later your yellow skirt matching the car this too is a set piece an end by itself but that’s as far as it is allowed to go. if you go past that oh well what do you know it’s a rubber skin mask cartilage tough muscle under a dremel hi blood hi bone i’d like you to meet car tire an exquisite machine drawing you in chewing you up spitting out blood and bile.
harry here...my dick just went titanium!
but without any more to do to you death proof is over. impact imminent. long legs emanating from the passenger seat cellulite rattles cement you’re dangerous i’m loving it staring at the sun kiss the crowd lick the stars this is your boss um that’s actually god congrats you dumb bitch you played yourself you liked my movie i mean how else would you — hey don’t get your guts on the upholstery it’s only a movie it’s only a movie cheerleader meet rape and revenge meet immortality meet a body that is no longer meat at all. the first rule of living forever is you have to die as cool girls together over and over crimson and clover. we get to see kurt fucking up these four hotties with a car crash, but then and this is where, if you’re with your girlfriend, she’ll realize how sensitive you are he fucks with the wrong women and let’s just say the audience i saw it with almost gave the ending a standing ovation but their boners would have knocked over popcorn and sodas. i think the summer of 2007 just went, “hey, let me take you to a free taquito buffet” and you eat all these taquitos and then the summer goes, “here comes a foot to your stomach”, but you go, “it’s full of taquitos” but it’s too late – there’s a boot in your stomach only the boot is really a motorcycle and you puke up a bikini girl who blows you and then kills your boss with a hammer. that’s what grindhouse is. it’s a taquito buffet that you puke up after getting hit with a motorcycle, and it turns into a bikini chick that blows you and kills your boss with a hammer. there are two different sets of girls, two distinct archetypes which one is qt? (find out after the jump.) in the first half femmes get slaughtered ground up pulverized in part two butch stuntwomen kill the man. death proof represents the last of a good thing in a sense qt’s most profound exploration of gender euphoria that can never be maintained that must be swept away pulverized by burning steel i think i’m ready now i think i’m ready now. a big gulp.