A good friend of mine has banned all Quentin Tarantino related projects from his personal sphere. The inspiring occasion for this ban, I believe, was the rape scene in “Pulp Fiction” (1994) where Ving Rhames’ character is sodomized by a couple of good ol’ boys, Deliverance style. He believes, and perhaps rightly, that America derived a too much pleasure from this hyper-sexualized fantasy scene. Perhaps this scene catapulted Tarantino to the top of the American psyche because it allowed all of those AWM’s (Angry White Men) to conquer their fears of being robbed, beaten, butchered or murdered by an ABM (Angry Black Man).
It could have been much more than this. After all, I’ve been told by my friend that Tarantino has a clear, blatant antipathy to black folk and his movies tend to glorify that bias. I don’t suppose films like Reservior Dogs helped either.
Others have suggested that the real MO behind QT’s movies is to reveal a broader American contempt for Blacks through characters that are contemptible (and fully human) on a number of fronts. Whatever your take on QT’s past, present and future in filmmaking, I gotta say, “Big Up” to Rolling Stone for coming correct with the magazine cover.
The double-feature flick Grindhouse featuring Rosario and Rose (seen above) is receiving a great deal of fan fare. I suppose my friend won’t see it until around 2030 when he’s writing a retrospective about American film of the past half-century. Tarantino’s legacy, whatever it becomes, will always be viewed, in part, through the prism of “race,” racism and identity because the characters which brought him to prominence inhabit a world few Americans know and most openly rue.