This is my review about the book written in french, “QUENTIN TARANTINO. Film par film, scÃƒÂ¨ne par scÃƒÂ¨ne, une incursion dans les intrigues violentes du rÃƒÂ©alisateur le plus transgressif du jeune cinÃƒÂ©m amÃƒÂ©ricain”.
Notice: this book was written in french but originally, I think it’s an Italian book.
MORSIANI A., Quentin TARANTINO, Gremese Editore, Rome, 2006.
134 pages. ISBN: 88-7301-613-8.
ACHETE A AMAZON.FR ICI
In his book “QUENTIN TARANTINO (movie by movie, action by action, an incursion into the violent intrigues of the most transgressive director of the young american cinema)”, Alberto MORSIANI, artistic director of the Association Circuite Cinema die ModÃƒÂ¨ne and critical cinema for the “Nuova Gazzetta di Modena” presents the cinematographic universe of Quentin TARANTINO.
First, the writer draws a general portrait of the American film maker, using judiciously the words “mythography of Everyday”. We find the components of TARANTINO’s movies and especially, the origins and reasons of the presence of these elements. The reasons are cinematographic, social, cultural and personal.
Then, the author presents the genesis of TARANTINO in the cinema sphere. He reviews the influences, the experiences, the meetings and people that have played a rol in the coming of the director in our movie theatres. The chapter also explores Natural Born Killers and True Romance.
The third chapter talks about the movies directed by TARANTINO. This part is the heart of the book. MORSIANI drives us into the universe of TARANTINO’s movies, using a remarkable capacity of analysis and lucidity. He locates the context in which the movies was created and retraces the story, action by action. The content is remarkable thanks to the analysis of the symboles and archetypes that MORSIANI succeeds to demonstrate and to make accessible. The quality of the reviews is reinforced because the writer, - like TARANTINO - attachs great importance to details. The writer controls perfectly his thema, for the cinematographic and musical references (signs of TARANTINO’s influences) and for the analysis about the technical aspects of the movies. The author begins with an analytic vision, then, he retreats in order to offer us a synthetic vision of TARANTINO’s Work. With that, we are able to feel the evolution of the movies.
To finish, MORSIANI talks about Sin City and CSI and the presence of the “TARANTINO touch” on the movies.
The writing is elegant and the author uses the vocabulary precisely. The book is illustrated with a lot of photographs in black and white, rigorously described. They are coming from movies or shootings.