Recommendations of the editorial team
Quentin Tarantino’s films are not only visual eyecatcher – the attention of detail of the filmmaker is also reflected in the musical accompaniment of his films. These songs from various tarantino soundtracks have been remembered by ME-Autor Jochen Overbeck, especially.
George Baker Selections “Little Green Bag” from “Reservoir Dogs”
Lawrence Terney’s view! How Steve Buscemi picks up his sunglasses! Quentin Tarantino, who grins one. Later a lot, lots of blood. And the American-sounding soul of the Dutch, in 1969 also a radio hit in the USA. Can a film start better?
Stealer’s wheels “Stuck in the Middle with you” from “Reservoir Dogs”
“Reservoir Dogs”, the second. First the bloodbath in the warehouse. Then the door opens and you hear the children play in the distance. One of the most brutal, at the same time one of the best tarantino scenes. The ultra-harmless, Beatleske Song of the British folk rocker looks like a burning glass.
Urge Overkills “Girl, You’ll Be a Woman Soon” from “Pulp Fiction”
The rock band from Chicago published the cover of the Neil Diamond Hit in 1992; It only became a success with the soundtrack.
It remained the only one, although the in the mid-90s tried to make the band a mainstream act.
Chuck Berry’s “You Never Can Tell” from “Pulp Fiction”
Did anyone actually do this thing in front of the dance scene by Uma Thurman and John Travolta at parties with hands? In the mid-1990s it was at least from a certain level of alcohol what is today.
Dusty Spring’s “Son of a Preacher Man” from “Pulp Fiction”
The Tarantino track par excellence. Of course, a top ten hit for Dusty Spring fi eld, of course, but only thanks to Tarantino part of the collective pop memory. Note on the side: relatively amusing in German by Lisa Fitz Covert.
Bobby Womack’s “Across 110th Street” from “Jackie Brown”
Pam Grier in the car. In one of the most beautiful scenes of “Jackie Brown”, she sings quietly, but soulingly with Bobby Womack’s smothem soul-Schwofer (even from a soundtrack): A margin Made in Heaven that shows how Tarantino music and film merges.
David Bowie’s “Cat People” from “Inglorious Basterds”
Using a soundtrack contribution for another soundtrack is of course very nice around the corner. “Cat People”, the Moroder production from the Paul Schrader-Fantasy Thriller of the same name from 1982, only comes into its own at Tarantino in its pop variant.
It is interesting how lyrics and action interlock: “Putting out fire with gasoline”.
Santa Esmeralda’s “Don’t Let Me Be Missunderstood” from “Kill Bill Vol. 1”
Snow in the Japanese garden. A white one who wants to fight like a samurai – and who is at least promised to death. Tarantino rejected the obvious, namely a sound accompaniment from the Asian region. Instead: Flamenco radio with brass, almost as razor-sharp as the swords on the screen.
Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down)” from “Kill Bill Vol. 1”
And again a piece that fits perfectly with the development scene: Tarantino takes the plenty of morbid text quite literally; Integrates it into the film act.
By the way, the original comes from Cher, it was her first single to stop more than a million copies.
Ennio Morricones “Rito Finale” from “Django Unchained”
At his first western, Tarantino changed his way of working. First of all, he had music composed by Ennio Morricone for the first time.
And: The tracks, which he returns back, come mostly from Italo-Western and Gialli-this from Sergio Sollima’s “Brutal City”. For the successor “The Hateful 8” he had Morricone rewritten a complete score.