Today is Quentin Tarantino’s 52nd birthday! Dale Sherman, author of Quentin Tarantino FAQ, has contributed a blog in honor of the famous director’s birthday!
A Generation on the QT
by Dale Sherman
So, here we are – Quentin Tarantino, the iconic movie director, is turning 52. I can’t say anything about getting older – certainly not any slams about being able to get into movie at half-price now – I’ll be turning 51 myself within the next month. We’re all getting older, and while I’m fine with that, I’m not exactly jumping up and down about it.
Speaking of which, when writing my book about the director, Quentin Tarantino FAQ, I do admit to some kinship to Tarantino for the close approximation of our ages. Perhaps that misguided; after all, I’m not a movie director, an Academy Award winner, and I’ve never written a script that has been made into a film. But I felt that closeness none the less. And in a way that I think is one of the reasons his films are popular with a certain audience that I am apart.
No, I’m not talking about being a geek here. Sure, Tarantino has been obvious, even stubbornly proud of his background as a movie and comic book fan. As discussed in the book, he even at one time considered attempting to turn the Marvel superhero character Power-Man into a film, and most fans (if not general readers) know of his love for old martial art films and bloody, whacked-out action films. But that isn’t quite what I mean here.
You see, Tarantino and I – and many others around the same age – came to our understanding of the world, and in particular the world of entertainment, at the same time. The 1970s. Like it or hate it; having lived through it or only heard about it; it was an incredible period for kids to grow up. There was this in retrospect an inexplicable freedom in what we got to see and do, just in the movies alone. Tarantino has the drop on me by a year, but I too was a kid that looked at those newspaper ads in the paper and saw all types of twisted films playing at the drive-ins that filled my imagination with plots far more frightening than what I eventually saw on the screen when seeing the films later on video. Television ads in local programming would be pretty loose as well, and it was not unusual to see an ad for horror films like It’s Alive! or Ghetto Freaks while watching Gilligan’s Island in the afternoon.
Plus television itself was much freer, with PBS showing no objection to profanity or nudity (who didn’t remember seeing Valerie Perrine in the all-together in their 1973 production of Steambath, or in the later run of I, Claudius?) and even controversial language would pop up once in a while on network programming as well. Things were discussed that were never brought up on television or in the movies before, and there was even an attempt in society to legitimize pornography as something people could see in good health (that didn’t last very long, but it was there). All type of oddball things were being recognized in the media and we as young teenagers were the first to see it all.
And, bizarrely, we saw it all in the most innocent way possible. Most things seemed to have a gloss of “brand new” products, spiffy and weirdly wholesome in a way that disappeared as the 1980s moved in and we started seeing the ugly side of things that looked so good the decade before. Suddenly, drugs killed. Porn stars died in suicide or OD, Words hurt and could not be examined, but buried. Freedom was dangerous and needed to be restricted to upper-class white people at best. Even mixing music genres – a staple of early 1970s radio stations – became strictly regulated through the corporate take-over of the airwaves in the 1970s. Innocent was not so much gone, but bought out because it allowed people to do things for fun instead of for a price.
And we lost that. The kids that came later didn’t have anything to lose, because they never got to experience the power of freedom that was the 1970s. But those of us a few years older still remembered those moments. Which is why I feel a kinship with Tarantino. We may not have gone down the same paths, but the emotional elements of his body of work speaks to those kids from the 1970s. When we see Travolta as a dancing hitman in Pulp Fiction, we’re reminded of his work in Saturday Night Fever; a zoom on Uma Thurman while the theme from Ironside plays reminds us of the kung-fu movies we grew up watching in theaters and on television; stars of our past returning to leading roles in his films, like Pam Grier in Foxy Brown, merely remind us of how cool they were and still are. Words are used that were okay to dissect, even laugh at, in the 1970s that we’re supposed to feel shame in even discussing today.
You can see it in those films of the 1970s – things appear there from major studios that say to us today, “they’d never get away with it now.” We lost that, but we can still see it through the prism of Tarantino’s films – that reflection, that memory of what made the 1970s so cool.
As I said, maybe I’m wrong. Maybe I’m trying to see a bit of myself in Tarantino due to having dug so deep into his history when writing Quentin Tarantino FAQ. But I can’t help thinking that I’m as close to the truth as I am in age to Mr. Tarantino. He’s of my generation, and I think that is one reason why his films reach so many like me today.
I can only hope he still has some more stories to tell us before he hangs it up.