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...Grindhouse” isn’t meant to be a movie, it’s meant to be an experience. Envisioned as a tribute to the grimy heyday of grindhouse cinema in the ’60s and ’70s, Robert Rodriguez and Quentin Tarantino’s double feature B-movie extravaganza screens as two separate flicks: Rodriguez’s zombie spectacular “Planet Terror” and Tarantino’s slasher/souped-up car ride “Death Proof.”The two are even separated by a series of faux...
...there any niggers here? ... Seven niggers, six spics, five Micks, four kikes, three guineas and one Wop." LENNY BRUCE, as part of his routine in the '60s AFTERMATH: Bruce was considered avant-garde rather than hateful. OUTRAGE FACTOR...
...smash /And miles to go before I crash...") But there's not much poetry, I mean of the pulp variety, in Death Proof. It doesn't show me much innovation, or much fidelity to the old grindhouse tropes. For example, in the seminal road movies of the late '60s and early '70s - Bonnie and Clyde, Easy Rider, Vanishing Point, Dirty Mary Crazy Larry - all those careening, careering antiheroes ended up dead. They paid for their vitality with their fatality. But Tarantino won't go that extra mile, at least in the second half of his escapade. He wants his crashes...
...find sex, or even the aura of sexuality, in films by the current generation of pop-referencing auteurs. They swarm all over the violence in '60s-'70s grindhouse movies but are squeamish in showing the eroticism that once was crucial to the genre. The generation of "kids with beards," as Billy Wilder called Francis Coppola, Steven Spielberg, George Lucas and Martin Scorsese, took their cues from a wide range of movie sources - Saturday-matinee serials, John Cassavetes improv dramas, European angst-athons - and if they got excessive, it was in kitsch and violence, not sex. Rodriguez got some puffs...
...only genres too, especially the western. Cowboy films allowed for a token lady part, to give the hero someone to fight over; but she would never do the fighting, instead cowering, paralyzed with dread, during the final showdown. It wasn't until the exploitation movies of the '60s and '70s--the ones paid lavish tribute in Grindhouse--that the gals in guy-genre films finally had something to do: take charge, kick ass and kill people. The films weren't exactly feminist, since the actresses usually had to take off their blouses before they could flex their muscles. But they...