Monday Afternoon Matinee Vol.3
“Death Proof” (2007)
Well we began this triple bill and afternoon matinee for a rainy day in an English summer with the beautiful Rosario Dawson, and so it seems fitting to bring this to an end with her too.
“I’m not a cowboy Pam. I’m a stuntman!”
Initially concepted as part of a Grindhouse double bill with good friend and “brother” Robert Rodriguez’s “Planet Terror” (which is also highly recommended, naturally), early negative critical reaction saw both films released separately. Both fans of 1970’s Grindhouse cinema whereby the theatres themselves were less than salubrious and the quality of the film print poor and decayed, this is also Tarantino’s singular homage to stuntman orientated films of the period, of muscle cars too but primarily another exploitation film. In relation to Grindhouse itself, it became infamous for the poor quality, crackling sound, badly edited and distorted picture the theatres would provide and in my own amateur homage to this I’ve reviewed this fantastic film by concentrating on this as you’ll see. I’ve also picked and briefly described my three favourite scenes from each Act.
A brief premise: “Stuntman Mike” (Kurt Russell) is a psychotic killer who derives sexual pleasure from car crashes, especially if they involve beautiful women.
The film itself is split into two distinct Acts, with a short bridging scene in between the two. My own amateur homage to Grindhouse will be to point these out in each Act, however I’ve only concentrated on the real crunching and awkward examples of this, as the film, and especially Act One is bathed in them! Please don’t let the Grindhouse aspect of this film put you off watching as it’s a fantastic film (naturally), rich characters, Tarantino dialled up to 10, and the Grindhouse aspect just adds to the flavour of the whole piece.
Did I mention the soundtrack?
Sublime.
ACT ONE: Grindhouse homages:
During the opening title sequence “Thunderbolt” is deliberately and incorrectly shown as the film’s title.
Crunching abrupt cut from “Arlene” (or “Butterfly”) as she’s running holding her crotch to the apartment of “Julia Lucai” (or “Jungle Julia”), to all three girls now driving in their car.
Screen flicker as Jungle Julia says “Who’s Holding?”.
Abrupt cut from a conversation about Jesse Letterman to a totally separate “no hooking up tonight” conversation.
Car containing the three girls simply disappears in the middle of the road, and in mid cheer as the girls go past another billboard for the Jungle Julia radio show.
Crunching “cigarette burn” before introduction to Jungle Julia’s friend “Marcy”.
Dialogue constantly out of sync for 3/4 seconds during same introduction to Marcy.
As Marcy addresses Butterfly, the reels sound as though they are turning in reverse so we hear “so you must be”, then “you must be the infamous Butterfly”.
A completely blank slide is inserted during the above conversation.
Sadly(!) the lap dance from Butterfly comes to a crunching abrupt halt mid-way through the fantastic “Down in Mexico” by The Coasters.
ACT ONE: Three Favourite Scenes
THE LAP DANCE!
“The woods are lovely, dark and deep. And I have promises to keep. Miles to go before I sleep. Did you hear me Butterfly?. Miles to go before you sleep” — Stuntman Mike
Throwing away his cigarette and with a deliberate smile directly to the camera, Stuntman Mike has bad plans ahead.
ACT TWO: Grindhouse homages:
As Stuntman Mike pulls into a parking spot, the colour is abruptly changed to black and white.
As “Abernathy” (Rosario Dawson) is sitting on the bonnet of her car smoking, the black and white abruptly changes back to colour.
Crunching pink distortion as “Zoe” (Zoe Bell) climbs out of the car to execute her “ships mast” stunt.
“The End” credits end abruptly, replaced by a “Written and Directed by Quentin Tarantino” and then quickly and awkwardly back again.
ACT TWO: 3 Favourite scenes
“Zoe” and her “Ship’s Mast” escapade that goes horribly awry!
Stuntman Mike tickling and licking Abernathy’s feet as they’re dangled out of the car. All whilst “Lee” (Mary Elizabeth Winstead) is singing an awful version of “Baby, It’s You” AND, naturally, yet another chance for the director to indulge his foot fetish!
“The End” final frame.
A satisfying conclusion to a brilliantly unorthodox film.
“Death Proof” can also be found within volume 2 of my 7 volumes of “Essential Film Reviews Collection” on Amazon and free to read should you have an Amazon Kindle “Unlimited” package.
"The Essential Film Reviews Collection" VOL.2 - link to Amazon
Thanks for reading. I hope this message in a bottle in The Matrix finds you well, prospering, and the right way up in an upside down world.