Breathless and Un Flic

Breathless is Jean-Luc Godard’s first feature movie. Un Flic is Jean-Pierre Melville’s final movie. Both directors are considered essential figures in French New Wave Cinema.

Breathless is to 1960’s French culture what Pulp Fiction was to its 1990’s American counterpart – a purely original work that both reinterpreted and reinvented movies. Each work represents a complete shift in how people made, watched and thought about movies. Both Godard and Tarantino present stories about crimes and gangsters, but each movie lifts the cultural subtext around them into its own powerful narrative form. There is a linear jump from Jean-Paul Belmondo’s Michel imitating a gangster to Samuel Jackson and John Travolta discussing foot rubs.

While there were occasional surprises in the years before Breathless and Pulp Fiction, nothing represented the jolt of energy these movies produced. Even 60 and 30 years later respectively, the two works remain relevant, instantly re-watchable and endlessly copied.

Breathless tells the story of Michel, a small-time crook who impulsively kills a French policeman. He is pursued by French authorities – along the way, he tries to convince American student Patricia to run away with him to Italy. The plot is nearly superfluous, as Godard focuses on the existential roles his lead characters assume. Patricia is sent to Paris by her parents to attend the Sorbonne – she wants to be independent, Michel is a wanted criminal – he wants to be Humphrey Bogart.

At its core, Breathless is a story about youth. Michel and Patricia are vibrant and driven by pure energy: Patricia’s thoughts form a lyric stream of consciousness, Michel is always moving and laser focused on his goals – getting his money and trying to sleep with Patricia. Each is focused on the moment in front of them and the electric vibe of Paris seems to reflect this.

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Rashomon and Sanjuro

Rashomon (1950) and Sanjuro (1962) are movies directed by Akiro Kurosawa. Each work focuses on the idea of perspective and features legendary actor Toshiro Mifune.

Sanjuro tells the story of an aging, wandering Samurai who encounters a group of warriors trying to rid their clan of corruption. The warriors are skeptical of Sanjuro’s appearance and unorthodox actions but come to rely on him in their quest. Rashomon tells the story of a murder in the forest from four different perspectives. Each version of the story adds different layers to the events and exposes its participants’ basic human flaws.

Mifune is dynamic in each movie. He plays the title role of Sanjuro as an aloof, almost bored outsider – his years of experience have cultivated a zen-like ease and wisdom that stands as a fun contrast to the young warriors’ impulsiveness. His appearance is unkempt and tattered and he clearly doesn’t fit the classic Samurai archetype.

The role features both comedic and physical elements: Mifune’s Sanjuro is constantly in search of a nap and something to eat. He is continually yawning and scratching at his beard while his group of proteges eagerly await his direction. Their movements are dictated by his actions. As the story progresses, the warriors form a plan and spring into action. Sanjuro calmly offers his advice and the group again orbits around him.

Physically, Mifune presents as a skilled Samurai. His economy of words and action translates to battle scenes, where nothing is wasted. He is a presence both in terms of size and strength – his movements are efficient and clearly more measured than his opponents. Here, his weathered look adds another layer to the character – he knows the impact of his sword and the lingering effects it creates. He will continue to carry this baggage and warns the others not to follow him.

There is a clear Western quality to Sanjuro. Mifune’s reserved energy, pace and idiomatic expressions – “a stupid man’s sword is deadlier than an enemy” is a throwback to Gary Cooper and John Wayne. The long pauses that preface the battle scenes are remnants of classic 1950’s American Westerns and previews of the exaggerations later found in Italian versions. The above scene in particular is reminiscent of the final stand off in The Good, The Bad and The Ugly. The lead-up feels endless while the payoff battle is brief and ferocious.

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The Tarantino Influences: The Rankings

The goal of this Tarantino project is to explore the movies that inspired the director. What I quickly realized is that this project could be infinite – given that thousands of movie references color Tarantino’s works. I’m stopping at 15 direct influences – fully knowing that these movies may not even be the best representations. Kill Bill alone likely features over 30 kung fu movie influences.

I think at the least, I represented enough different genres to make the project meaningful.

More importantly, I’m excited that these movies will naturally lead to further discoveries. For instance, I was not a huge fan of Branded to Kill – but I do want to explore more Japanese New Wave movies. Likewise, after watching The Great Silence and Django, I’m fully invested in Spaghetti Westerns. The next phase of this project will ultimately lead to a new writer/director, but for now I want to chase down the movies, directors, actors and genres that stem from this original group.

As for this collection of movies, here are my ratings – which again are based on my own preferences and personal enjoyment. I take into account technical aspects but I am unqualified to judge such things. But I also know that Kowalski is the most boring anti-hero in movie history and the Ecstasy of Gold scene is exhilarating. All fifteen of these movies offer something exceptional and likely shaped some small part of a Tarantino movie.

The Good, The Bad and The Ugly – 4.5/5

Band of Outsiders – 4.5/5

These are two movies that essentially changed movies. The Good, The Bad and The Ugly was the best of a classic Sergio Leone series that proved the traditional American Western could be revitalized under a European lens. Yet in doing so, the movie created an American icon in Clint Eastwood and probably the most copied movie of its genre and time. Leone creates a beautiful, expansive atmosphere to drop his classic, archetypal characters into and they represent a struggle for morality that is brilliant and layered.

Band of Outsiders continues the guerrilla, self-referential ethos Jean-Luc Godard established with 1960’s Breathless. Godard’s story of would be teenage robbers is both an inventive homage to American crime movies and photograph of the existential confusion of youth. It’s a tongue in cheek critique of the narrative form, which gives us beautifully odd sequences such as the dance scene, moment of silence and running through the Louvre.

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The Tarantino Influences: Django

Django is a 1966 movie directed by Sergio Corbucci. The music, themes and style were inspirations on Tarantino’s Django Unchained, Hateful Eight, Reservoir Dogs and Once Upon a Time in Hollywood.

Django tells the story of a mysterious drifter who drags a coffin through town and ends up in the middle of a bloody feud between Southern confederates and Mexican revolutionaries. He battles both groups, using his secret weapon of destruction. Along the way, Django rescues a prostitute and attempts to leave with a bounty of gold.

The main influence on Tarantino can be found in the most glorious theme song of all time.

Behold the grandeur….

Django has a lot going for it but this introduction is the clear high point of the movie. The song is hypnotic – it’s a grand, soaring, even powerful presentation of a mysterious drifter dragging a coffin through mud. Take the song away and you still have an intriguing visual but it loses its potent flavor. This theme is strictly reserved for a dynamic hero – which defines Django for most of the movie.

Tarantino borrows the theme song and gives it to his Django, who proves to be a more worthy hero than the original. We also see the great lettering and font in Tarantino’s version and clearly there is an homage to mud. Of course, mud isn’t exclusive to either movie – but in Django, its presence fills the background similar to snow drifts in other spaghetti Westerns.

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The Tarantino Influences: Rolling Thunder

Rolling Thunder is a 1977 movie directed by John Flynn. Known as one of Tarantino’s favorite movies, its theme of retribution and stylized violence could have been influences on Kill Bill and Pulp Fiction.

Rolling Thunder tells the story of Major Charles Rane, a Vietnam veteran returning home after being a prisoner of war. Rane struggles to assimilate back into civilian life, before his wife and son are killed in a home invasion. This tragic event leads Rane to seek justice on the thugs responsible for the murders.

It’s difficult to classify Rolling Thunder as a particular type of movie. A case could be made that it’s an exploitation movie or at the least, a loose version of a road movie. It’s definitely a revenge movie and it’s violent. Yet, Rolling Thunder takes on that gritty, 1970’s sensibility where the story is allowed the space to breathe. We learn about the characters and their baggage – their personal futility is captured far before the chaotic final shootout, which ultimately defines the movie.

The layers found in Rolling Thunder likely inspired Tarantino – along with other writer/directors. It’s a heavy movie featuring a main character who is emotionally broken after suffering years of torture. It’s a tragic story, yet the bad guys who propel Rane to act are outlandishly bad – almost to the point of being unrealistic and cartoonish. There’s a love interest that never materializes, subtle statements made about patriotism and quirky, offhanded humor found throughout.

There’s a gimmick in Rane using his hook hand to cause havoc, yet Rolling Thunder is a unique mix of heart and action. It’s tempting to separate these characteristics to make an easier movie – but combined they form an intriguing creation.

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The Tarantino Influences: The Good, The Bad and The Ugly

The Good, The Bad and The Ugly is a 1966 Sergio Leone Western. The movie’s themes, style and cinematography are major influences on most of Tarantino’s works.

The Good, The Bad and The Ugly tells the story of three drifters who are seeking a bounty of buried money. The three men form ephemeral alliances with each other during their pursuit, constantly scheming to secure the riches for themselves.

The Good, The Bad and The Ugly is a unique entry for this project. The movie is continually cited as one of the greatest Westerns ever made, along with being a huge influence on Tarantino’s works – particularly during the second half of the director’s career. Although it’s possible that Tarantino references The Good, The Bad and The Ugly in all of his movies. Reservoir Dogs, Pulp Fiction and Jackie Brown all borrow from the movie’s classic ending – a standoff in a Civil War cemetery. The atmosphere of Kill Bill, Volume 2 – particularly during the scenes with Budd and later Bill – are lifted entirely from The Good, The Bad and The Ugly.

The spacious scenery of the desert, which highlights Leone’s movie, is littered throughout Tarantino’s second half volume of movies. The opening scene of Inglorious Basterds borrows heavily from Leone’s introduction of Angel Eyes, while Django Unchained and Hateful Eight mimic the characters’ motivation and study ideas of trust.

On its surface, The Good, The Bad and The Ugly is a simple movie. The characters are all motivated by the same thing – yet take different routes to achieve their goals. They are simply characterized – Blondie is the good guy, Angel Eyes is bad and Tuco is ugly. Yet all three characters are con men and tricksters – each both adapting to and taking advantage of their landscape, which is being devastated by war.

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The Tarantino Influences: Man Hunt

Man Hunt is a 1941 movie directed by Fritz Lang. Its story, setting and hints of revisionist history could have inspired Tarantino’s Inglorious Basterds.

Man Hunt tells the story of Alan Thorndike, a British big game hunter and adventurist. Thorndike is vacationing in Bavaria when he stumbles upon Adolf Hitler. Thorndike has Hitler in his sights, but doesn’t shoot. He’s then captured by the Nazis. After escaping back to Britain, Thorndike has his identity stolen and is pursued by Gestapo forces.

There are some interesting parallels between Man Hunt and Inglorious Basterds. While the movie isn’t a direct influence on Tarantino’s work, Man Hunt attempts to place a fictional character into the historical space of World War II. Thorndike is swept up into a web of spies – similar to Basterds’ Archie Hickox – as he is pursued by Nazi agent Quive-Smith. The Nazis want Thorndike to sign a confession admitting that he tried to kill Hitler – as this action would draw Britain into the war and validate Germany’s invasion of Europe.

Walter Pidgeon plays Thorndike and is well-suited for the role. He’s a striking 1940’s leading man and possesses a kind of necessary gentle charm. In explaining his actions to Quive-Smith, Thorndike admits to tracking Hitler – but states that it would be cruelty to kill what was such an easy target. There’s little malice in Thorndike’s character – he’s likely a bored adventurer arising from a wealthy and connected background.

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The Tarantino Influences: City on Fire

City on Fire is a 1987 movie directed by Ringo Lam. Its’ style, characters and story were huge influences on Tarantino’s Reservoir Dogs.

City on Fire tells the story of Chow, an undercover cop, who infiltrates a band of diamond thieves. Chow is pushed further into the group’s plans and becomes a sort of pawn stuck between two police inspectors. The movie ends with a botched robbery and the group sorting out the chaos that has ensued.

Heading into this project, City on Fire was high on my list of movies to review. I had read about the connections between the movie and Tarantino’s Reservoir Dogs – including the controversial opinion held by some that City on Fire was directly copied. After watching the movie, I can see the obvious similarities between the works.

However, I’m not sure either City on Fire or Reservoir Dogs could ever remain exclusive. The two movies perfectly complement each other.

Of course, there is no Reservoir Dogs – at least in its existing form – without City on Fire. The Chow and Fu relationship serves as the model for Mr. Orange and Mr. White in Reservoir Dogs. Mr. Orange is playing a role similar to Chow – albeit the two characters and actors inhabit completely different energies. Similarly, the bands of jewel thieves in each movie exhibit their own unique criminal styles and ultimately follow a similar path to their respective downfalls. And of course, the endings to each movie are dramatically similar.

However, I strongly feel that what Tarantino did with City on Fire is very similar to what he has done over his entire filmography: he takes really cool pieces of movies and pop culture and frames them within his own storytelling universe. Over nearly 30 years, we’ve seen him mature in this process to the point that Once Upon a Time in Hollywood is an unquestioned masterpiece of movie making. Naturally, this process takes time.

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The Tarantino Influences: The Thing

The Thing is a 1982 movie directed by John Carpenter. Its themes of isolation and trust and its remote setting are influences on Tarantino’s Hateful Eight and Reservoir Dogs.

The Thing tells the story of a group of scientists and related crew who encounter an alien being on a research base in Antartica. The alien is able to assume the form of the life around it, which forces the crew to battle both the creature and themselves.

Tarantino has admitted The Thing was an influence for his Hateful Eight. There are clear similarities in the settings for both movies – a remote Antartica research base and the wilderness of post-Civil War Wyoming. Brutal cold conditions serve as the backdrop for each movie, although they influence The Hateful Eight much more than The Thing. Perhaps the most striking link between the two movies is the mistrust that develops between the characters. Someone is not who they appear to be: be it an alien in Antartica or an outlaw in Wyoming.

I’ve been hesitant to watch this movie, despite its clear influence on Tarantino.

I’ll admit that I’m not a huge horror movie fan. For whatever reason, the genre never connected with me outside of the bad, schlocky variety made in the 1960’s. Also, Escape From New York is one of my least favorite movies of all time. It’s a brilliant concept made extraordinarily dumb in its execution. Every character in the movie is a dull, unfinished cartoon void of reality. Escape From New York is painful to watch – especially when in the hands of a more talented writer/director, it could have been amazing.

Additionally, I possess a bizarre dislike for Wilford Brimley….more on this later.

After watching The Thing, I hold similar thoughts – although not to the level of Escape From New York. The Thing is an improvement. It’s another terrific concept and although Carpenter still fumbles with the character development, the pacing, tone and special effects keep the movie interesting. However, the selling point of the movie – the alien – doesn’t live up to Ridley Scott’s 1979 classic.

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The Tarantino Influences: Vanishing Point

Vanishing Point is a 1971 movie directed by Richard Sarafian. The movie’s high speed chase scenes, driving stunts and constant soundtrack are likely influences on Tarantino’s Death Proof.

Vanishing Point tells the story of Kowalski, a car delivery driver, who is attempting to drive a car from Colorado to San Francisco in less than 24 hours. Kowalski is pursued by police during a three-state chase. Along the way, we receive glimpses of Kowalski’s former life as both a policeman and car racer and also learn of his past relationships. Vanishing Point also features a radio DJ, Super Soul, who serves as both the narrator and a sort of spiritual advisor.

The driving, chase scenes and stunt work – along with the 1971 Dodge Challenger – were big Tarantino influences on Death Proof . Tarantino pays direct homage to Vanishing Point as Zoe Bell plays Ship’s Mast across an identical car’s hood and Stuntman Mike wears the same watch as Kowalski. Tarantino also replicates Vanishing Point’s high/low chase scenes and he captured the car’s powerful sounds.

After viewing Vanishing Point, I’m convinced Tarantino took all the cool parts he could find.

What’s left behind is a weird blend of ideas that don’t really fit.

Vanishing Point as a 1970’s car chase movie is pretty bad ass – until you pay attention to everything else that’s not the car. There’s a simple and cool plot that ultimately gets convoluted. Kowalski has to deliver a car from Colorado to San Francisco over a weekend. However, Kowalski likes speed – both in the mechanical sense and the drug – and bets his drug dealer that he can make the trip in what is essentially a half day. If we stop there and don’t ask questions, the movie is much more enjoyable.

However, Kowalski doesn’t say much. And he’s not big on emotion. He’s really not that interesting other than being a great driver. But watching him drive for 90 minutes would probably get boring – so we learn of his backstory in bursts of flashback. Kowalski was at various times a dirt bike racer, demolition derby driver and cop. We later learn that he was a Vietnam veteran and was involved with a hippie girl who died from drowning.

Yet, even after learning of his backstory, Kowalski is still painfully boring.
Normally, it wouldn’t matter if the main character of a car chase movie is uninteresting. However, the main subplot and ending to Vanishing Point insist that we both know and care about Kowalski. Otherwise, Kowalski barreling into a roadblock at 100 mph doesn’t make a lot of sense.

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