Tarantino Screenplay Reservoir Dogs - Essay Example

An Ear for an Ear School 11 xx Tarantino’s screenplay “Reservoir Dogs” is an early, yet significant example of the rising author’s unique style which consciously focuses on interweaving subtle underlying meaning within his witty, yet realistically gritty dialogue and action. A different take on the classic heist story, this screenplay concerns a failed diamond theft involving a hierarchical arrangement of characters connected by organized criminal activity. Using a highly effective non-linear storytelling progression, Tarantino is able to imbue various elements in the work with symbolic meaning which directly catalyzes more significant comprehension of the content and implications of the complete work as a portrayal of humanity and criminality. The use of uniforms, the application and use of color-coded nicknames by core characters, and the tortuous removal of Marvin Nash’s ear are examples of Tarantino’s use of symbolism to enhance the dimensionality of the work as they reveal key insights into the story dynamic. The most immediate introduction of symbolism within “Reservoir Dogs” occurs in the introductory scene in which the characters are described as wearing black suits as they sit around the café table. Though subtle, this uniformity of dress is a factor which prevails throughout the vast majority of the later screenplay. This neo-noir style attire, which hearkens back to accepted aspects of the classic cinematic criminal archetype, is applied to the core characters and impacts the overall story significantly. The uniform used by these thieves reveals the tentative cohesiveness of the group and draws a distinction between them and the police in subsequent scenes, effectively setting both groups apart from general society, or as Mr. Pink remarks, “real people” (Tarantino, p.13). However, this is not the only area in which the symbolic value of the criminal uniform impacts the overall screenplay. A lack of uniform description in scenes which introduce and explain the involvement of individual characters signifies their previous separation and tentative civilian status. Additionally, this definitive division between the thieves and the police intensifies the sense of betrayal which arises from the revelation of Mr. Orange/ Freddy Newendyke’s duplicitous role within the group beginning in scene 25 (Tarantino, p.56). Tarantino continues his incorporation of symbolism in the use of color coded nicknames by core characters in the context of the screenplay which succeeds in achieving several key effects on the story and character development through the associated characteristics of anonymity. In the context of a heist story the use of coded aliases is in some ways a fairly common device, a conscious symbolic gesture expressed directly by character(s) (Conard, n.p.). However, in this case it is apparent that the coded aliases are symbolic of the hierarchical arrangement of the criminal enterprise as well as being meant to convey the independent agenda of the individual characters and the basic lack of intimacy and understanding within the group. This directly impacts the development and consequences of their conflicting goals and attitudes during the course of the screenplay. One of the more obvious effects of the coded names is the emphasis it places on the separation and elevated position of both Nice Guy Eddie and Joe. These are the only two characters involved directly in the diamond heist that are not subject to any gesture of anonymity. This implies both the elevation of their position within the hierarchical framework and their nominal removal from direct risk in connection with the actions of the assembled group. Functioning as an unquestioned authority within the organized criminal enterprise, the simple fact that N.G. Eddie and Joe are not subject to these same conditions implies that the coded characters represent no threat, either by virtue of position or through a sense of loyalty and honor amongst thieves (Tarantino, p.92). However, this mindset is not expected to be extended to the previously unacquainted crew which suggests that within this type of organized criminal activity, loyalty is dictated by the relative strength and standing of the individual rather than any emotional or personal experiences or interaction (Conard, n.p). These implications as well as some important aspects of character personality are revealed in two separate instances in which the use of coded names is discussed among characters. One of these occurs in scene 43, wherein the characters react to the names applied to them during the course of the job. Though none of the characters question Joe’s insistence on coded names, the way in which Mr. Pink initially balks at his alias, but ultimately complies in the face of Joe’s reaction is indicative of the intimidation inherent to organized crime (Tarantino, p.92). This is particularly significant in light Mr. Pink’s earlier reaction in scene 5 to Mr. White’s emotional outburst which nearly leads to a revelation of identity: MR. WHITE Look, enough of this "Mr White" shit-- MR. PINK --Dont tell me your name, I dont want to know! I sure as hell aint gonna tell ya mine. MR. WHITE Youre right, this is bad. (pause) (Tarantino, p.14) The threat of increased intimacy through the revelation of identity and the increased risk associated with the action reinforces the skewed dynamic in play. Rather than relying on a sense of companionship and unity to face the continued fallout of the failed robbery, Tarantino’s characters are isolated by virtue of their false names function in a manner that increases the sense of disjointedness and removal from normal behavior. However, the aggressive, self-interested independence existent within the hierarchical criminal dynamic in the “Reservoir Dogs” is most effectively solidified by symbolism inherent to the ritualistic torture and maiming of Officer Marvin Nash. Though intimidation and brutality are hinted at in several scenes within the screenplay, the succession of scenes beginning with the revelation of Mr. Blonde’s prisoner in scene 13 are most significant in conveying the underlying emotional impetus and attitudes of the group. In this scene it is evident that Mr. Blonde’s initiation of violence is not a spontaneous act despite the coincidental nature of the cop’s capture. Rather, it is a pre-mediated decision which reveals not only his disregard for life in general, a characteristic which defines him as the quintessential unfeeling criminal, but also emphasizes the intensity of conflict between the core cast of characters and the opposing force of the police. The long-reaching nature of this perception of the police, this aggressive reactivity, is evident in Mr. Blonde’s blithe statement near the end of scene 13: “Mr. Blonde: So while we’re waitin for Nice Guy Eddie, what say we have a little fun finding out who the rat is.” (Tarantino, p.55). The following scenes reveal the ritualized beating of Nash by Mr. White, Mr. Blonde, and Mr. Pink, an act which has no real purpose other than acting as an expression of the anger and resentment harbored by the crew against the police in general. While this is enough to reveal the emotional state and values and attitudes of Mr. Pink and Mr. White under strain, they are swayed by logical argument, limiting impact of the action of perceptions of their overall character regarding their humanity. However the continuation and rising violence of the attack on Officer Nash, culminating in the forcible removal of his ear by Mr. Blonde, has a deeper symbolic significance (Breen, n.p.). While much of this extended meaning may be directly connected with the growing dimensionality of Mr. Blonde/Vic’s character within the screenplay, it may also be considered a statement regarding the criminal nature and activity in general. Mr. Blonde’s behavior towards the cop, both in the context of the story and implied through dialogue, reveal the intense psychological issues in play, explained in part by the revelation concerning Vic’s recent prison release. In not only participating, but deliberately initiating and escalating the violence, Mr. Blonde is essentially taking back his dominance in the act of revenge (Tarantino, p. 46) When coupled with his behavior during the robbery as revealed through interactions with Mr. White and Mr. Pink, Tarantino maintains an emotional distance within Vic’s character that borders on sociopathic. While this is significant as regards the characters, it also has larger reaching implications in connection with the overall circumstances of the storyline. In this way, Tarantino suggests that organized crime is in and of itself a slippery slope, and once an individual is committed to such endeavors, the criminal tendency can spiral and consume the individual (Breen, n.p.) By integrating symbolic meaning into various aspects of the “Reservoir Dogs” screenplay, author Quentin Tarantino builds a more comprehensive visualization of the circumstances in play amongst the criminal characters. The disjointed arrangement of the storyline reinforces the effect achieved by this practice, enhancing the impact of the use of uniforms and color-coded nicknames as well as the underlying implications of Marvin Nash’s ritualized torture and death. In doing so, Tarantino has successfully rendered a portrait of the life and conditions of criminal society which is largely unaffected by the traditional morays and values of society. Ultimately, the author successfully uses symbolism to reveal the stringent hierarchical organization of this type of criminal enterprise and the subsequent roles performed by such a criminal crew, while simultaneously exposing the darker, aggressive impulses and tendencies manifest within the participants. Resources: Breen, Marcus. “Woof, Woof, the Real Bite in Reservoir Dogs.” Australianhumanitiesreview.org. Web. Retrieved Nov 6 2011: http://www.australianhumanitiesreview.org/archive/Issue-Dec-1996/breen.html Conard, Mark T. “Reservoir Dogs: Redemption in a Postmodern World.” metaphilm.com. Web. January 13, 2007. Retrieved Nov 6 2011: http://metaphilm.com/index.php/detail/reservoir_dogs/ Tarantino, Quentin. Reservoir Dogs. New York: Grove Press. 2000. Print. Read More