Reservoir Dogs lives in a class of its own and fetches the bone as Tarantino’s finest work.
The characters, dressed in iconic black suits, strutting down the street in a slow motion, stylized and visually striking shot, accompanied by the upbeat song “Little Green Bag,” has become an iconic image associated with the film. It encapsulates Tarantino’s penchant for stylish and memorable visuals.
“I don’t want to kill anybody. But if I gotta get out that door, and you’re standing in my way, one way or the other, you’re getting out of my way.” This powerful dialogue exchange occurs in the opening scene, emphasizing the tension and stakes involved in the characters’ criminal endeavors. It showcases Mr. White’s determination and hints at the conflicts that will unfold throughout the film.
Unlike most of Tarantino’s films, “Reservoir Dogs” follows a non-linear narrative structure. The story is divided into chapters and jumps back and forth in time, creating a puzzle-like structure.
Reservoir Dogs challenges traditional notions of morality by presenting characters who exist in shades of gray rather than black and white. The story blurs the lines between right and wrong, showcasing characters with flawed moral compasses. The movie explores moral ambiguity and the complexity of human behavior.
The “Madonna and “Like a Virgin” scene establishes the film’s dialogue-driven nature and introduces the colorful characters. The gang engages in a spirited discussion about Madonna’s song “Like a Virgin,” dissecting its deeper meaning and symbolism. The dialogue in this scene is just one example of the film’s provocative and intense content.
MR. BROWN: “Like a Virgin” is all about a girl who digs a guy with a big dick. The whole song is a metaphor for big dicks.”
MR. BLUE: “No it’s not. It’s about a girl who is very vulnerable and she’s been fucked over a few times. Then she meets some guy who’s really sensitive.”
MR. BROWN: “Whoa… whoa… time out Greenbay. Tell that bullshit to the tourists. It’s not about a nice girl who meets a sensitive boy. Now granted that’s what “True Blue” is about, no argument about that.”
MR. ORANGE: “Which one is “True Blue?”
NICE GUY EDDIE: “You don’t remember “True Blue? That was a big ass hit for Madonna. Shit, I don’t even follow this Tops In Pops shit, and I’ve at least heard of “True Blue.”
MR. ORANGE: “Look, asshole, I didn’t say I ain’t heard of it. All I asked was how does it go? Excuse me for not being the world’s biggest Madonna fan.”
MR. BROWN: “I hate Madonna.”
MR. BLUE: “I like her early stuff. You know, “Lucky Star,” “Borderline” – but once she got into her “Papa Don’t Preach” phase, I don’t know, I tuned out.”
MR. BROWN: “Hey, fuck all that, I’m making a point here. You’re gonna make me lose my train of thought. Where was I?”
MR. ORANGE: “You said True Blue was about a nice girl who finds a sensitive fella. But “Like a Virgin” was a metaphor for big dicks.”
MR. BROWN: “Let me tell ya what Like a Virgin’s about. It’s about some cooze who’s a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick.”
MR. BLUE: “How many dicks was that?”
MR. WHITE: “A lot.”
MR. BROWN: “Then one day she meets a John Holmes motherfucker, and it’s like, whoa baby. This mother fucker’s like Charles Bronson in “The Great Escape.” He’s digging tunnels. Now she’s getting this serious dick action, she’s feeling something she ain’t felt since forever. Pain. It hurts. It hurts her. It shouldn’t hurt. Her pussy should be Bubble-Yum by now. But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what it was like to be a virgin. Hence, “Like a Virgin.”
Mr. Brown: “Let me tell you what ‘Like a Virgin’ is about. It’s all about a girl who digs a guy with a big dick. The entire song. It’s a metaphor for big dicks.”
Mr. Blue: “No, no. It’s about a girl who’s very vulnerable, she’s been fucked over a few times. Then she meets some guy who’s really sensitive.”
Mr. Brown: “Whoa, whoa, whoa, whoa, whoa! Time out, Green Bay. Tell that fucking bullshit to the tourists!”
This dialogue exchange sets the tone for the film, showcasing Tarantino’s penchant for engaging and pop culture-laden conversations. It highlights the characters’ distinct perspectives and introduces the witty and uncensored banter that runs throughout the movie.
The majority of the story unfolds in a single location—a warehouse, creating a confined and claustrophobic atmosphere, that intensifies the tension among the characters.
It was Tarantino’s debut feature film and was produced on a relatively low budget. Compared to his later movies like “Pulp Fiction” or “Django Unchained,” which had larger budgets, elaborate sets, and extensive use of special effects, “Reservoir Dogs” is more contained and focused on sharp, witty dialogue and character interactions.
The film features extensive dialogue-driven scenes that explore the dynamics and relationships among the characters. Tarantino is known for his homage to various genres and pop culture references in his films. However, “Reservoir Dogs” is relatively free from these explicit references. While it contains elements of classic heist and crime films, it is less overt in its homage compared to movies like “Pulp Fiction” or “Kill Bill.”
Arguably one of the most infamous and intense scenes in the film is when Mr. Blonde (Michael Madsen) dances to “Stuck in the Middle with You” while torturing a police officer. The juxtaposition of the upbeat song with the gruesome violence creates an unsettling and memorable moment. This scene is often cited as an example of Tarantino’s ability to blend violence and dark humor.
Tensions reach a boiling point as a Mexican standoff unfolds among the surviving characters. Each member of the group suspects the others of being an undercover cop, leading to a tense confrontation. The scene showcases the fractured trust and paranoia, culminating in a chaotic and violent climax.
The film delves into the theme of identity and the consequences of assuming false personas. Mr. Orange’s undercover role as a police officer creates a moral dilemma for him and the other characters. The film explores the ethical boundaries and personal conflicts that arise when individuals deceive others and live with the burden of their hidden identities.
While violence plays a significant role in many of Tarantino’s movies, “Reservoir Dogs” differs in that it focuses more on the aftermath and consequences of violence rather than depicting it explicitly. The infamous ear-cutting scene takes place off-screen, leaving the brutality to the audience’s imagination, something Hitchcock was a master at. This restrained approach to violence distinguishes “Reservoir Dogs” from some of Tarantino’s later, more graphically violent films.
The characters’ actions and the ultimate outcome highlight the moral implications of loyalty and betrayal within a criminal underworld. Each character in “Reservoir Dogs” brings their own strengths, weaknesses, and eccentricities, that contribute to the complex dynamics and conflicts within the story. Their distinct personalities and flaws are what make them memorable and add depth.
Mr. Blonde (Vic Vega) possesses a cold and detached demeanor, making him an effective enforcer. His penchant for sadism and unpredictability, violent tendencies, and lack of impulse control makes him unhinged and a liability.
During a heated argument about the division of the stolen loot, Mr. Pink adamantly refuses to tip, arguing that it sets a bad precedent and signifies weakness. Self-centered Mr. Pink (Honest Larry) is the most rational and strategic member of the group, focused on self-preservation. He’s cautious, pragmatic, and mistrustful, unwilling to compromise, which often leads to conflicts with others. He strongly opposes tipping and adopts an unwavering stance on the matter, creating a running gag throughout the film.
Loyal, and resourceful Mr. White (Larry Dimmick), is a seasoned criminal and acts as a mentor to Mr. Orange (Freddy Newandyke). Mr. White is prone to sentimentality which at times clouds his judgment. He develops a strong bond with Mr. Orange and demonstrates a sense of honor and integrity within the criminal world.
Towards the end of the film, Mr. White engages in a heartfelt conversation with Mr. Orange, who is severely wounded, and reveals his true identity as an undercover cop. Despite the risks, Mr. White stays by Mr. Orange’s side, promising to protect him and showing his unwavering loyalty and emotional attachment to his fellow criminal.
Reservoir Dogs serves as a blueprint for Tarantino’s subsequent films, setting the stage for his illustrious career. It paved the way for his unique brand of storytelling, rich with intertextuality, and eclectic soundtracks. The film’s influence resonates in his later works, solidifying its status as the foundation of Tarantino’s distinct cinematic universe.
Tarantino’s ability to evoke visceral reactions through suggestion and artful storytelling and the film’s unrelenting tension and unpredictable twists keep viewers on the edge of their seats, cementing “Reservoir Dogs” as a benchmark in the crime thriller genre.
Reservoir Dogs remains Quentin Tarantino’s crowning achievement. Its audacious storytelling, memorable characters, razor-sharp dialogue, and uncompromising vision make it the quintessential Tarantino film.
Words Have Power 