• Directed by Quentin Tarantino, 1991

AN: this was originally posted on July 6, 2016, on my old blog.

As I watch more and more Quentin Tarantino movies it becomes clear to me that the central point around which his entire career pivots is masculinity. Whether his films feature women prominently (Kill Bill, Death Proof) or not at all (this film!), they usually serve as an examination or interrogation of manhood. What does it mean to be a man? Is it noble or toxic? In later films, he comes down hard on the side of the latter. But this first effort seems more open to the idea of masculinity as noble and honourable.

Reservoir Dogs utilizes many of what would become Tarantino’s trademarks: violent subject matter (as the content warnings say), a nonlinear narrative, long conversations, and a cameo by the director, who here plays Mr. Brown. One thing Tarantino does well is trust his actors. He and the invaluable editor Sally Menke linger on them in long takes and allow them to command the scene, rather than chopping them up into quick cuts. This tendency is already obvious even in his first effort. Also immediately obvious is his talent for dialogue. It’s clear why Harvey Keitel, who both acts and produces here, was so drawn to this script. The dialogue is so tight and well-balanced that it’s easy to forget that the vast majority of the film takes place in one room.

Another Tarantino trademarks- violence- is used in interesting ways in this film. The usage, or lack of usage, of violence in this film tells a lot about the characters and helps underscore the themes. Some movies use violence freely and gratuitously, and though Tarantino has become known for his use of violence, none of it is narratively unnecessary in this film. The robbers express disgust and regret at killing innocent civilians. Police, on the other hand, are a different matter. At one point, Mr. Pink asks Mr. White if he killed anyone at the bank. Mr. White says, “A few cops.” And Mr. Pink replies, “No real people?” Violence in this film is earned. Cops earn it by virtue of being cops- by not being “real people”. Although the viewer’s own moral compass may (and perhaps should be!) tuned differently, the fact that these characters only kill “not people” is telling. The most over-the-top violence in the film is carried out by Mr. Blonde, who is promptly killed for it. Violence in this film is about justice.

Justice is a recurring theme, tying into the similar idea of nobility that also runs through the film. It seems like the old adage of “honour among thieves” is one Tarantino was thinking of when he put this film together. After the heist, Mr. White and Mr. Pink commiserate about how appalled they are at Mr. Blonde’s behaviour in the bank. Apparently, after a civilian pressed the alarm, Mr. Blonde began shooting indiscriminately into the crowd, killing several people. As previously mentioned the men are appalled at Mr. Blonde’s killings- but they are also appalled by his lack of professionalism. There is a code of conduct these men expect each other to adhere to and Mr. Blonde violates that code. It would be easy to conceive of the robbers as amoral and selfish, but even these thieves have a code of honour. Stay calm, don’t escalate the situation, and don’t kill civilians. And, of course, don’t be a rat.

At one point in the movie, Mr. Blonde has kidnapped a police officer named Marvin Nash (Kirk Baltz) and has brought him into the warehouse hideout to be interrogated. Pink and White attempt to draw information from him for a while, but then have to leave and retrieve the stolen diamonds. Left alone with his victim, it becomes clear that Blonde is more interested in inflicting pain than getting information. During a tense and unsettling scene reminiscent of something out of the Joker’s playbook, Blonde cuts off Nash’s ear and covers him with gasoline, all while dancing to “Stuck in the Middle with You”. But before he can light Nash on fire, Blonde is shot by Orange, who has been lying there, bleeding and ignored, on the floor for the whole scene. Orange then reveals to Nash that he is a police officer. Orange’s personal code of honour prevents him from letting Blonde kill one of his men, even if it could create trouble for him later on. But he waits until the absolute last possible moment to fire.

Mr. Blonde is certainly not meant to be a good person. But he’s a pivotal figure in the film. Not only does he incite a great deal of the action but he causes an emotional epiphany for one of the other characters. As twisted as Blonde is, he still has a code of his own. In a flashback, we see him in Joe Cabot’s office. Blonde has just gotten out of prison, where he was held for four years. Joe is saying that in order to thank Blonde for taking the fall for them, he will set Blonde up with employment and safety. After Blonde is killed, Eddie furiously tells Orange that Blonde could have ratted on the Cabots at any moment during his time, and had much incentive to do so. But he “shut his mouth. He did four years for [the Cabots], and he did ’em like a man.” This type of protection- silence, stoicism- is contrasted with Mr. White’s brand of protection over Mr. Orange- compassion, vocal defense, physical touch. In this way Blonde’s style of protection, of masculinity, is contrasted with White’s.

Bringing home these themes of honour and masculinity is the final scene pictured above. Mr. White has spent the entire movie searching for the undercover cop. He has also spent the entire movie developing a relationship with Mr. Orange. Of course, after White goes as far as shooting Eddie Cabot to protect Orange, Orange tells White that he is the cop. Orange certainly did not need to tell White the truth. Orange was dying, and was minutes away from receiving possibly life-saving medical care. He put that all at risk by telling the truth. Yet there was no other choice for him. He spent the whole movie being protected by White and sharing intimacy with him (e.g. White telling Orange his real name). And he has just been reminded by Eddie that even the criminal Mr. Blonde was not a rat. Being told that the man he killed was a killer and a “psychopath” but not a rat changes Mr. Orange’s perspective on his silence. Now, it would be dishonourable for him to lie to his saviour’s face. And honour in this movie is essential.