(no subject)
AUGH LJ ATE MY WHOLE POST WTF I AAAUUUUUGH
Okay I'm better now. I had some really small points that I completely forgot about, but we'll see how we handle things.
.... It's not been a few good days. Or rather, a good month or so.
Okay, let's move on.
-Hah, Eddie trips as he's walking out the door. Good times, man. This is one of the reasons I love Reservoir Dogs, is the fact that, as Holdaway would put it, it's naturalistic as hell. People aren't scripted and move like huge manly badasses who would never trip over a chair, and if they did, they would shoot it to learn it for tripping them.
Heist Date: we get a hint as to what date the heist takes places. Behind Joe in the diner is a poster hat's advertising a festival August 23 through the 25. Generally these things don't come out too early in advance, so we can assume the heist takes place in the earliest possible date in late July, and latest possible date the third week of August.
-Wardrobe note: only Blue, Pink, and Brown have significantly different suits. Blonde, Orange, and White all have somewhat similar suits. The interesting thing about this is that the suits were given gratis for the film, because the designer (who made Harvey Keitel's suit) loved the American crime genre. So one wonders why it would be White, Orange, and Blonde who have similar suits. Possibly White and Blonde have similar suits because they're more connected to the older mafia system (Blonde because he's one of Cabot's soldiers, White because he's older than God). As for Orange- I figure that Joe would make Freddy go buy a suit, because I highly doubt that he would actually own one, given the lack of mature adult clothes. Given the way that Orange and White pal around together, I wouldn't be surprised if Joe made White bring the kid to a tailor and make him get a suit for the job.
Also, sunglasses- they're all of a certain style, boxy and black, Brown's being the only marginally stream-lined ones. Now, later in the film, we'll note that Freddy actually has different shades- they're smaller and rounder. So I wouldn't be surprised if Joe, being the finicky guy that he is, demanded they all wear a certain style of eyewear, if they need to wear any at all. Appearance seems to be very important to the whole job, not in the least because they need to look a certain way to a.) go into a jewelery store and b.) to rob it. There's seemingly no effort to really conceal their identity, so one wonders if they're wearing the shades to throw off identification.
-Hahahah, Brown is still blabbering on even while they're walking out to the cars. And it looks like Orange is at least paying attention to them, While Eddie and Pink are engaging him. Blue gives them only a glance, and Blonde and White are stoically ignoring them all.
-Um... do all seven men fit into two cars? That must have been some interesting maneuvering. The silver car is Eddie's, so I'm assuming he and Joe take off in that one. The rest of them must cram into the little brownish car behind it- which means two in front, three in back.
-There is a lot of blood in the backseat with Orange. He must have been flailing something fierce. Also, Larry's got a little bit of blood on the side of his face.
-Few notes about that car: the radio is playing "Little Green Bag" on the radio, so the song from the credits bleeds into the movie. Very neat touch. Also, I had been confused initially as to why Orange was kicking the crap out of one of the front seats, but it turns out that it's actually a child's car seat that's getting in the way of him stretching out. I imagine that probably pissed him off.
(I remember as a small child having a car seat exactly like the one in the car- same fabric and pattern.)
-Okay, another interesting thing about the car scene is the stark contrast it serves to the idea of masculinity that had been presented 'til then. We've got seemingly competent, professional-looking guys shooting the shit at a diner. Then, we get a severely wounded, screaming and whimpering young man in a suit who is obviously very scared, and an older man who every once in a while borders on panic as he tries to comfort the younger man. Both are visibly shook up, and the reaction to this wound is very unlike typical action movies- stoic silence and one liners through gritted teeth is more expected. This is gritty, this is jarring, and this is realistic.
-Orange's slurring and distortion of his words is also very interesting, and unlike how most movies would handle a victim of a gun shot wound. He's fighting off shock and suffering from severe blood loss, so it makes a lot of sense.
-The car has fold-down seats and only two front doors (God I hate those kinds of cars, they're a bitch to get into), so shoveling Orange into the backseat must have been an interesting task. White must have done a fair amount of lifting.
Warehouse:
Orange says, "She had a baby, man. She had a baby." I didn't notice this until I found this one the internet, and by now Orange is feeling incredibly guilty for killing a civilian woman with a small child. The things he's done on this heist are so alien to his self image, his schema as an officer of the peace, that he's having some really severe problems trying to deal with this. While his sense of self preservation has kicked in high gear, I very much doubt he'd be the type to be glad to live with himself afterwards.
-White speaks to Orange like he's a small child. "Look where we are," has the same tone as talking to a distraught child.
"Will you please hold me?" Dear God is that a heart-breaking line. This pretty much shatters any ideal of masculinity that had been previously established. Right now, we're not dealing with tropes anymore, we're dealing with people, and Tarantino seems to revel in that. Orange is too much in pain, and too frightened, to deal with any kind of boundaries by now, and his personal trust and liking for White demolished any other inhibition that he might have had in asking to be held. Again, this points out how young Newendyke is, and how helpless he is. The "holding" is awkward, physically, but White doesn't even pause in doing it. He's got Newendyke in a loose embrace, but he is trying.
In the deleted scene "No Protection", it's revealed that the officers staking out the warehouse had total visibility of the exterior. Meaning, they would have been able to see White haul the bloody and drooping Newendyke into the warehouse. The idea that no one responded then gives us an idea of how worthless Newendyke's life was compared to catching Joe Cabot. They were willing to let a fellow officer of the law die in order to have a chance at catching Cabot.
This is really a very different attitude to how Freddy views his own connection to other officers- he sacrifices his own cover to save Nash, even though the other officers are letting him and Nash die inside. This shows us to what lengths Newendyke is willing to go, despite having a perfect understanding of how hopeless the situation is.
Okay I'm better now. I had some really small points that I completely forgot about, but we'll see how we handle things.
.... It's not been a few good days. Or rather, a good month or so.
Okay, let's move on.
-Hah, Eddie trips as he's walking out the door. Good times, man. This is one of the reasons I love Reservoir Dogs, is the fact that, as Holdaway would put it, it's naturalistic as hell. People aren't scripted and move like huge manly badasses who would never trip over a chair, and if they did, they would shoot it to learn it for tripping them.
Heist Date: we get a hint as to what date the heist takes places. Behind Joe in the diner is a poster hat's advertising a festival August 23 through the 25. Generally these things don't come out too early in advance, so we can assume the heist takes place in the earliest possible date in late July, and latest possible date the third week of August.
-Wardrobe note: only Blue, Pink, and Brown have significantly different suits. Blonde, Orange, and White all have somewhat similar suits. The interesting thing about this is that the suits were given gratis for the film, because the designer (who made Harvey Keitel's suit) loved the American crime genre. So one wonders why it would be White, Orange, and Blonde who have similar suits. Possibly White and Blonde have similar suits because they're more connected to the older mafia system (Blonde because he's one of Cabot's soldiers, White because he's older than God). As for Orange- I figure that Joe would make Freddy go buy a suit, because I highly doubt that he would actually own one, given the lack of mature adult clothes. Given the way that Orange and White pal around together, I wouldn't be surprised if Joe made White bring the kid to a tailor and make him get a suit for the job.
Also, sunglasses- they're all of a certain style, boxy and black, Brown's being the only marginally stream-lined ones. Now, later in the film, we'll note that Freddy actually has different shades- they're smaller and rounder. So I wouldn't be surprised if Joe, being the finicky guy that he is, demanded they all wear a certain style of eyewear, if they need to wear any at all. Appearance seems to be very important to the whole job, not in the least because they need to look a certain way to a.) go into a jewelery store and b.) to rob it. There's seemingly no effort to really conceal their identity, so one wonders if they're wearing the shades to throw off identification.
-Hahahah, Brown is still blabbering on even while they're walking out to the cars. And it looks like Orange is at least paying attention to them, While Eddie and Pink are engaging him. Blue gives them only a glance, and Blonde and White are stoically ignoring them all.
-Um... do all seven men fit into two cars? That must have been some interesting maneuvering. The silver car is Eddie's, so I'm assuming he and Joe take off in that one. The rest of them must cram into the little brownish car behind it- which means two in front, three in back.
-There is a lot of blood in the backseat with Orange. He must have been flailing something fierce. Also, Larry's got a little bit of blood on the side of his face.
-Few notes about that car: the radio is playing "Little Green Bag" on the radio, so the song from the credits bleeds into the movie. Very neat touch. Also, I had been confused initially as to why Orange was kicking the crap out of one of the front seats, but it turns out that it's actually a child's car seat that's getting in the way of him stretching out. I imagine that probably pissed him off.
(I remember as a small child having a car seat exactly like the one in the car- same fabric and pattern.)
-Okay, another interesting thing about the car scene is the stark contrast it serves to the idea of masculinity that had been presented 'til then. We've got seemingly competent, professional-looking guys shooting the shit at a diner. Then, we get a severely wounded, screaming and whimpering young man in a suit who is obviously very scared, and an older man who every once in a while borders on panic as he tries to comfort the younger man. Both are visibly shook up, and the reaction to this wound is very unlike typical action movies- stoic silence and one liners through gritted teeth is more expected. This is gritty, this is jarring, and this is realistic.
-Orange's slurring and distortion of his words is also very interesting, and unlike how most movies would handle a victim of a gun shot wound. He's fighting off shock and suffering from severe blood loss, so it makes a lot of sense.
-The car has fold-down seats and only two front doors (God I hate those kinds of cars, they're a bitch to get into), so shoveling Orange into the backseat must have been an interesting task. White must have done a fair amount of lifting.
Warehouse:
Orange says, "She had a baby, man. She had a baby." I didn't notice this until I found this one the internet, and by now Orange is feeling incredibly guilty for killing a civilian woman with a small child. The things he's done on this heist are so alien to his self image, his schema as an officer of the peace, that he's having some really severe problems trying to deal with this. While his sense of self preservation has kicked in high gear, I very much doubt he'd be the type to be glad to live with himself afterwards.
-White speaks to Orange like he's a small child. "Look where we are," has the same tone as talking to a distraught child.
"Will you please hold me?" Dear God is that a heart-breaking line. This pretty much shatters any ideal of masculinity that had been previously established. Right now, we're not dealing with tropes anymore, we're dealing with people, and Tarantino seems to revel in that. Orange is too much in pain, and too frightened, to deal with any kind of boundaries by now, and his personal trust and liking for White demolished any other inhibition that he might have had in asking to be held. Again, this points out how young Newendyke is, and how helpless he is. The "holding" is awkward, physically, but White doesn't even pause in doing it. He's got Newendyke in a loose embrace, but he is trying.
In the deleted scene "No Protection", it's revealed that the officers staking out the warehouse had total visibility of the exterior. Meaning, they would have been able to see White haul the bloody and drooping Newendyke into the warehouse. The idea that no one responded then gives us an idea of how worthless Newendyke's life was compared to catching Joe Cabot. They were willing to let a fellow officer of the law die in order to have a chance at catching Cabot.
This is really a very different attitude to how Freddy views his own connection to other officers- he sacrifices his own cover to save Nash, even though the other officers are letting him and Nash die inside. This shows us to what lengths Newendyke is willing to go, despite having a perfect understanding of how hopeless the situation is.