Above all, Quentin Tarantino’s new book “Cinema Speculation” is “a vision, in motion, of a Hollywood-centric mind,” tnyfrontrow writes.
,” “Five Easy Pieces,” “Airport,” and “Love Story”) and knew well that his movie exposure—and his habit of telling his classmates in detail about what he’d seen—made him stand out. He stood out as well because his mother was dating a Black man named Reggie, who took him to see Blaxploitation films in predominantly Black neighborhoods.
“Cinema Speculation” is the work of a filmmaker whose knowledge of movies is prodigious, and who, by dint of his professional experience, can add the insights he has gained from inside the industry, along with interview access to many of the people whose work he writes about. That’s the perspective that informs the book and that raises it above what would in any case be an engagingly garrulous memoir.
Tarantino closely and lovingly scrutinizes the work of character actors, and often makes them the fulcrum of his analysis. He treats “Dirty Harry” as the seminal serial-killer movie and spotlights the performance of Andy Robinson, in the role of the Scorpio killer, as the reason for the movie’s historic effect. He looks closely at John Flynn’s “Rolling Thunder” and tells the story of how, at the age of nineteen, he met and interviewed Flynn.
“Cinema Speculation” is consistently engaging; with its zinging and zipping observations, its casual opinion-flinging, and its sharp-edged divisions of personalities and eras, it seems designed to arouse fruitful arguments. Like the experienced fictioneer that he is, Tarantino creates images and stories and scenes, tells tales that entice and bewitch even as they invite the same sort of criticism that his movies do.
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