The Problem with Quentin Tarantino’s Racial Revenge Fantasies
For the second time in his career, Quentin Tarantino has won an Oscar for best original screenplay. And with this, we must acknowledge that the triumph of form over content is fully complete in American popular culture. After all, fool me once, shame on you. Fool me twice, shame on us. In many ways Tarantino is truly an excellent writer. But it’s quite a stretch to classify his scripts as great literature. Why? Simply put, he has nothing to say. There are no weighty ideas, no grave insights into the human condition, and no emotional depth. Instead, there is merely a wholesale devotion to the lurid, the snappy, and the shocking. And at that, he is very, very good. In his endless quest for cool, Tarntino has mastered the craft of writing hip, catchy dialog. And the fact that he often has those lines delivered by excellent actors helps immensely. But while Tarantino’s scripts can be highly entertaining, they are almost invariably superficial. And so, what his films actually say is largely irrelevant; rather, the full weight of their impact is derived from how they say it. Thus, to repeatedly acknowledge his writing as “the best” is to elevate a relatively artless technician (I’m speaking here of his writing, not his film making) over actual artists, including many who also possess formidable technical prowess. To give Tarantino multiple Oscars for authorship is to celebrate cheap thrills and hedonistic pleasures at the expense of striving and love and wisdom and everything else that makes the human endeavor truly worthwhile. But there’s more to it that that.
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