From Dusk Till Dawn (Rober Rodriguez, 1996): Juxtaposition Of Horror, Comedy, And Crime

After a few months out to focus on myself, I am back, and what way to start off the new year (I know, we are 31 days in) with a little guilty pleasure flick of mine. From Dusk Till Dawn is the most unexpected vampire film I have ever watched, but how does it grip the audience so well and not leave them bewildered. The film grossed $25.8 million from their $19 million budget in box office, which I must say is impressive for Rodriguez. A relatively diverse cast and a screenplay which was written by one of the most sadistic and a blood enthusiast directors possibly known to man, all Rodriguez had to do was elicit the conventions he wanted and give the audience something to actually grip to.

It could be considered that the text itself is "individualistic" and "unique", which is a very subjective opinion in this matter. However, I would have to agree that the whole concept of the narrative is somewhat incohesive, but Rodriguez makes this work, the balance between narrative and dialogue subsequently creates a comedic sub-genre within the text, which is smart. In regards to visuals, the main theme of the colour palette is sepia tones, which induce the Mexican ideology/conventions: the vast desert; constant heat which pierces the skin and in somewhat of a sense, a western "vibe". Nevertheless, the colour palette does elicit quite a few connotations, but the constant mellow tones are consistent, it doesn't make the eyes divert, it is almost pleasant to consume.

Lets talk about characters shall we, in this case, Seth Gecko (George Clooney) and his loose-cannon of a brother, Richard (Quentin Tarantino). Seth is somewhat Richard's subconscious, or as I would call it, "guidance". He is there to make sure Richard doesn't snap again and again, even though we get some sort of insight in Richard's psychotic head, how he thinks, and how he perceives the outside world. Even though when we first see them, we see the duo more as the antagonists, we are deceived and they form as the protagonists as the narrative unravels (well, Seth is the protagonist to say the least). We become more emotionally valued to Seth after his brothers unfortunate and, well, to be frank, rather inconvenient death. We don't learn to love the two characters, as previous antics they have committed, such as the rape of the bank clerk, which isn't seen, but insinuated through a number of fast jump cuts, and the knowledge of Richard being a sex offender. The ideology of not seeing the actions, but conversing them and insinuating them with imagery that entices the audience, with the use of such vivid colours to incorporate to aid this response.

We can't not talk about the infamous dance at the "titty twister" scene. It is so provocative, and yet not in regards to negative associations at all. The high level of intense lust is so heated, it would make any spectator so immersed in the over-sexualised routine, which yes, elicits the male gaze, and yes it is deemed negative, but no one can't help but be objectified by Santanico Pandemonium (Salma Hayek), but we like it for some reason, in correlation to voyeuristic scopophilia, we don't like the idea of enjoying what is happening on the screen, yet we can't help but look. The concoction of the slow music, mixed with the slow erotic dancing, using the snake as symbolism for slow but powerful, which is representative to the dancer. The whole sequence is beautifully shot and has such a smooth flow.

Personally, the film is overall not usual in that period of time, it is like flipping a switch, but the audience are unaware of when the change is about to happen. The film is definitely an experience that one should experience. If you are a fan of young George Clooney, Mexican vampires and comedic one liners? This one is for you.

#QuentinTarantino #GeorgeClooney #1994