Artistry & Painting

Tarantino Vs Taratino, and My Big List of Tarantino favorites!!

His movies are famous for their violence and bloodshed; their blaring soundtracks; their offbeat, Pinteresque dialogue; their startling performances from actors you had almost forgotten about.

~NY Times

Tarantino Vs Tarantino

Quentin Tarantino‘s movies are mostly made up of nonlinear narratives. His movies are subject to Glorification of violence. His subjects are revenge and justice, which are indifferent from many other filmmaker’s subjects, however, what he can make out of it can completely be different in projection from the others. He’s inspired by movies from different genres made in the past, he brings old elements in his own story and mash’em up into a single theme containing of a justice seeking protagonist. He’s an amazing collaborator and a magnificent music connoisseur —picking background scores himself for his evenly eclectic scenes from the movies.

Quentin TarantinoTarantino’s repetitive and very much predictable, yet his craftsmanship is on a level of a such class that he can always get away with it by creating a niche piece of thoughtful movie that can cache on his superb direction and trademarks.

Starting from Reservoir Dogs to Django Unchained, his movies experienced a gradual development in story telling. His characters grew up and so did his film-making ability. He leaped from only telling an amazing story through nonlinear narratives and his Trademarked elements to more of a conventional narratives with his Trademarked elements still intact and flourishing.

The Tarantino we know today is different from the Tarantino that existed 10-15 years ago. His craft haven’t changed much and he still carries the same panache as before. His movies still follow similar story line; Loss, trail, retribution and revenge, however, his ability as a film-maker has grown to even wider and unimaginable horizons and he can now implore things that were rarely seen in his previous movies. We all know him best for his rougher cut movies, now they are more fine cut and well-tuned.

Advent of Grindhouse mashed with Spaghetti Western+Slasher and Retro Sound

grindhouse is an American term for a theater that mainly shows exploitation films. It is named after the defunct burlesque theaters […] where ‘bump n’ grind’ dancing and striptease were featured.


Grindhouse is the most commercial theme of Tarantino’s movies. He creates an unimaginable concoction of Grindhouse with spaghetti western and slasher. Now, slashing always has a greater purpose in his movies. Beatrice Kiddo couldn’t have gone away without slicing, dicing and chopping her enemies nor Sin City could have even more brutal without it.

There are many ways of torturing a character in Tarantino’s universe, you can either shoot them with a shotgun from a close range, cut off their limbs with a Ninja sword or just pluck out their eyes so they can’t see again their entire life. He can bring out the aesthetics and beauty of action well contrasted with the backdrop of the scenes; be it machine gun shooting Nazi occupied Germany, the Antebellum era with black slaves plucking out cotton or the fast food joint at Los Angeles.

“Music sets your soul free.”  Sure it does! He has a rare quality of picking unconventional sound for the very right scene. Isn’t it weird to hear a Jazz playing in the background when Django’s busy killing his enemies in a White supremacist South? That’s very unconventional.

[Sound Samples]

Most Clichéd about Tarantino

1. Blood Spillage

Tarantino pleasures blood. Blood plays a significant role in his movies. A movie without fountain of blood spouting out of someone recently sliced arm is non existent in his world. The gushing out of red fluid from a human body describes the occurrence of two things, either the crime has been committed or the justice has been served.

The malevolent practice of glamorizing blood spillage defines Tarantino’s style of brutality.

2. Homicide

Tarantino loves massacre. The protagonist’s lust for killing and finding the way through to accomplish the mission is what drives the entire movie. It won’t start until the protagonist kill his first victim and move on through the large crowd of dead before killing the only person that matters.

Crazy 88 from Kill Bill

Crazy 88 from Kill Bill

Homicide has a greater purpose of retribution for Tarantino and his characters. Killing is a need but pleasure. Antagonists in his movies are surrounded and covered by numerous henchmen or bodyguards, taking them off before killing the antagonist is essential because; to ensure nobody comes around from the back and stab you while your on the verge of your mission and to minimize the chance of leaving behind a potential nemesis.

3. Triumph of Truth and Justice

Tarantino supports the very idea of Truth and Justice. Audience may find his movie violent and all gore but that doesn’t mean the theme of it’s all about killing people. The greater idea is always the triumph of truth and justice through retribution. A protagonist always finds a way to seek justice, in the case of Tarantino’s movies they only find it after quenching their thirst for revenge by killing every man on sight that differs with them.

Django smiles after killing everyone of Candy's henchmen

Django smiles after killing everyone of Candy’s henchmen

It’s has never been a case when an antagonist has gotten away from the final scene without getting what he deserves. Beatrice Kiddo manages to kill Bill at the end and quench her revenge, so does Lt. Aldo Raine, he carves a SWASTIKA over Landa’s forehead to remind him of his wrongdoing for all his remaining life, and Django avenging the brutal torture he and his family suffered from the Slave owners and their henchmen.

At the end, Justice is always served. May the degree of treating a crime differ from many conventional films or what’s defined by the Standard Law, the ultimate reason for which justice stands is always served at the end.

My Big List

(Best Tarantino’s movies, listed #9 to #1)


Jackie brown (1997)

Jackie Brown Movie Cover


Death Proof (2007)

Death Proof Movie Poster


True Romance (1993)

True Romance Movie Poster


Sin City (2005)

Sin City Movie Poster


Reservoir Dogs (1992)

Reservoir dogs movie poster


Django Unchained (2012)

Django Unchained Movie Poster


Pulp Fiction (1994)

Pulp Fiction Movie Poster


Inglorious Basterds (2010)

Inglorious Basterds Movie Poster


Kill Bill (2004)

Kill Bill Movie Poster


Quentin Tarantino’s Trademarks
Quentin’s World

Antonio on cycle chased by men

Review & Synopsis: Bicycle Thieves ‘Ladri di Biciclette’ (1948)

Bicycle Thieves or Ladri de biciclette (1948) is an Italian Neorealism film directed by Vittorio De Sica. A film of Magnum Opus proportion.

Italian Neorealism (Italian: Neorealismo) is a national film movement characterized by stories set amongst the poor and the working class […] mostly contend with the difficult economic and moral conditions of Italian post–WWII.



“It’s a story of an everyday man. His despairs populate the script and struggles entertain the audience.”

Bicycle-thieves-coverThe more you write about it, the more it seems to be lesser, not in density but in charm of words which fails to suffice the magnificence of the film. De Sica’s generous vision of working out with non-professional actors in creating a realist and heart-wrenching story is amazing.

Poverty and crime, the most lauded about subjects in literature seem a mere story when the real events turn out of a just life of people living in the shadow of Post-WWII Italy.

One may find flaws in the actors, however, you must not forget that the casts are all actually Non-professionals. Said that, it’d be naive to assume, Lamberto Maggiorani (Antonio Ricci) and Enzo Staiola (Bruno Ricci) lack passion in delivering their characters. The characters which will be remembered till the end of time.



(Bicycle Thieves through Screenshots)

Antonio Ricci lands a job

Beginning: Antonio Ricci, a jobless father and husband, is offered a job of sticking film-posters on street walls, in a condition that he bring along a bicycle.

Antonio asks his wife for money to buy a bicycle

Antonio cannot produce a bicycle by himself. He asks his wife for financial hep.

Antonio's wife decide to sell bed sheets she bought as dowry

In hope of better future, she decides to sell the bed sheets she bought along in her marriage.

Antonio and his wife cheer for a life to come

Antonio manages to buy a bicycle. Both husband and wife look pleased.

Bruno Antonio's son cleaning the bicycle

Bruno Ricci, Antonio’s plucky young son, inspects the bicycle. He best puts his accent and mafioso swagger. Enzo looks less like a child and more like a midget, in the film.

Antonio's first day on job

The First day of Job: Antonio learns the trade. The same day, a young lad steals his bicycle.

Antonio and Bruno at petrol pump

Antonio looks at his young kid waiting for him on the street, in hope that the kid’ll ride back home in his father’s new bicycle.

Antonio and his friends decide to retrieve the stolen bicycle

ntonio, along with his friends, decide to recover the bicycle from stolen-goods market

Antonio runs on the fear of his sons life

As the search turns out in despair, Antonio becomes restless and cranky. He hits Bruno.

Client sulking over his luck at fortune teller's place

Bruno Antonio’s son cleaning the bicycle

Antonio apprehends the thief

Antonio nabs the young lad who stole his bike and apprehend him in public, however, the whole event creates a fuss, inviting public attendants to intervene

In despair Antonio looks for other opportunities

In lack of evidences and witnesses offered by Antonio, the young lad is set free and unharmed.

Tired and lost Antonio with his son

Both father and son seem contemplating.

Antonio about to steal a bicycle

Lost and in despair, he decides to steal a bicycle from the street.

Antonio on cycle chased by men

He’s briefly chased and is nabbed by some men

Antonios apprehended while-stealing a bicycle by some men

Antonio faces public humiliation and dismay. The fact that his own son witnessed the whole incident creates an awkward situation.

Antonio walks towards uncertain future

Antonio, along with his son, is seen walking towards the uncertain future [End Credit rolls]


Bicycle Thieves (1948)

Directed by Vittorio De Sica, Written by Luigi Bartolini, Produced by PDS Produzioni De Sica, Stephen Tenenbaum and Edward Walson, Starring: Lamberto Maggiorni, Enzo Staiola, Lianella Carell and others


Very polished and dare-to-be-true analysis of the character “Joker” from The Dark Knight..

hats Off to Ikonographer !!!


For anyone who actually checks up on me here regularly I have to apologize. Since Omaha Bible Church’s South Campus has gotten underway I’ve been teaching Adult Bible School and ! Corinthians 12-14 have been wiping the floor with me. Most evenings aren’t winding down till 9:30 or 10pm, and I just haven’t have the gumption to write after all that.

That said, I saw something that I found jarring, disturbing and deeply profound.

I went to go see “The Dark Night” last weekend, for my birthday by the way, and I’ve been stewing in the residue of the film since. if you’ve been by this blog much you probably know that I enjoy the subject of Christian worldview and particularly the work of Francis Schaeffer. I also have some ideas about how Christians should look at art that I think need to be considered. Approaching this movie from…

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Synopsis of a Neo-Noir & Political Thriller -Shanghai

Pseudo-Politics and Unethical Bureaucracy

Indian Politics is a gamut of pseudo-bureaucracy. The social development in the state is carried out along with theft and robbery. It is not unknown how politicians manipulate their way into the country’s administration and reap huge personal profits. Killing and Plundering is a common activity in today’s political arena. Shading light into the matter is important, which has explicitly been done by many thoughtful films. Changing the attitude of law makers, bureaucrats and general public is important to ensure better society in the future, if we care to have one. Waring people and bringing a change, through various medium is an important task.

It is an artist, who can capture the real event of such political melodrama, bring it into the light, and show it to the people -in the most amusing and entertaining manner. Though, such movies explore reconciliation through a dystopian yet artistic manner, it is still worth a satisfaction.

Translation of Indian Politics into a Neo-noir and Political Thriller

Bharat Nagar is an important city for business tycoons, visionaries and the politicians. A city that behold the greater future for Posh Societies and Elite Lifestyle. A tiny city of Bandra West, Maharasthra, is chosen to become a new metropolis, a new city similar to Shanghai.

Bharatnagar is created for the purpose of showing the deprivation and injustice faced by the poor locales in every part of India. Locales, who fear of losing their homes and services, are persuaded by the local government to provide their land in return of a promise to build a better city, a city providing better accommodation and the services.

An Activist, Dr.Ahmedi (Prosenjit Chatterje) shows up to support the poor, with the empathy and support, and bewares them from signing any contract that binds them with the commitment with the government. A strong, fearless and philanthropic human being loved by few and feared by many, Dr.Ahmedi makes way for his grand speech, one night. The local politicians with the fear of their plan, plan to assassinate Dr.Ahmedi in a very dramatic manner, so to cover up the story of Dr.Ahmedi forever. To save themselves from retribution, Chief Minister along with local authorities implement a sham investigation to prove that it was an accident, and to move on with their plan. A state investigator T.A.Krishnan (Abhay Deol) is assigned to investigate into the matter. He, not knowing that the investigation was just a cover up, digs deep down into the matter and reveals the secrets of the assassination.

Jogi Parmar (Emraan Hasmi), a slimy pornographer and opportunist comes as a great help to unravel the case. Shalini (kalki Koechlin), a supporter/student of Dr. Ahmedi is a main protagonist of the drama, who connects every aspect of fact finding and helps to reach a conclusion. After much hulabaloo, torture and continuous investigation, they reach a climax. They find out that the local government was planning to build the new metropolis, an International Business Park, a Shanghai, by demolishing the existing and poorer Bharatnagar, by confiscating lands from the locales. People like Shalini, Jogi and Krishnan, who value ethics and justice, unravel the case and restate the justice.

Dibakar Bannerjee

Dibakar Bannerjee, the director

This movie explore a neo-noir elements of a political thriller. It is made to unravel pseudo-bureaucracy and sham administration of greater Mumbai area. A thoughtful synopsis of political thriller with a darker theme and Art based cinematography, makes the film most exciting.

Dibakar Bannerje (Director) has sure succeeded into making what he does best! A unique and artistic interpretation of a swell and realistic Hindi movie. Though the concept has been adopted from a french film Z, and the novel by the same name of Vassilis Vassilikos, the translation of it into the local Indian setting has been done flawlessly.

The similar translation of an English literature can also be found in Omkara (based on Othello), by Vishal Bhardwaj.


Shanghai in WikipediaIMDB and Official Website