[written by writer, Sonia Marcon]
Blood and Guns and Rock’n’Roll
“What’s in Mexico?”
If you, as a viewer, have a penchant for looking at your shelf (or shelves) of DVDs and realising you can’t decide what to watch with dinner (Crime or Horror? Guns or Vampires? Wit or Gore?) then From Dusk till Dawn should satisfy. This film is a perfect example of one that does not hail all audiences because it can be explained with one word – unexpected. It not only relies on the knowledge and understanding of the creators’ tone but also on a love of the genre. From Dusk till Dawn has three creative figures, each recognised by their alternative works. Robert Rodriguez (El Mariachi, Desperado) directs this Robert Kurtzman (noted make-up effects artist) story written by Quentin Tarantino (Pulp Fiction, Reservoir Dogs). Enough said?
From Dusk till Dawn is a film for the lovers of snappy Tarantino scripts and good, hard Rodriguez directed action, which is what the film is before the vampires show up. The opening scene is classic Tarantino; it shows banality versus insanity purely through conversation. This is what powers this film pre-vampire. The first moment of horror isn’t completely, if at all, Rodriguez-esque. It’s more akin to anything that could be considered horrific in Pulp Fiction or Reservoir Dogs, such as the scene with the adrenalin shot to the heart or the scene where Michael Madsen slices the cops’ ear off with a straight razor. Both of these scenes are made effective by what is not seen as opposed to the current love of showing it all. The way you don’t see the ear being cut off, you just hear the screaming, and you don’t see the needle pierce through the chest to the heart, you just hear the force exuded by the loud ‘thump’ as the syringe hits, makes these scenes very effective. The first scene of horror in From Dusk till Dawn is just as effective and well written as either Pulp Fiction or Reservoir Dogs because it is made not by the dead body but by the fact that the dead body is not visually focussed on. All that is present is confusion, discomfort and damn good acting by George Clooney.
What is this film about, then? Two criminals, on the run from the law, seek temporary refuge in an establishment populated by vampires. The criminals are Seth (George Clooney) and Richard (Quentin Tarantino) Gecko who take a family hostage in order to hitch a ride to Mexico, home of the movie-lawless. The dwelling of the vampires is a place that is open from dusk till dawn (bingo!) and is where the film shifts seamlessly from Tarantino to Kurtzman while under the canopy of Rodriguez. The vampire-horror element is left to, and celebrated by, Robert Kurtzman who is a noted make-up effects and props artist. Having worked on a diverse range of films such as Misery, Dances With Wolves and Little Nicky, From Dusk till Dawn harnesses Kurtzman’s prowess with make-up which is well known from horror movies such as A Nightmare on Elm Street: The Dream Child, Tremors and Army of Darkness. The use of Kurtzman’s talents really keeps these vampires in their own element. These vampires are not glamorous like those in Interview with the Vampire or sparkly and loveable like in Twilight. Before becoming vampires, the women are beautifully desirable and the men are Tarantino cool. As the vampires emerge as ugly and animalistic, surviving on carnage and gore, the film shifts as abruptly. The horror becomes random and almost silly, but this shift is not what makes this film special. What does is the fact that the characters, while remaining quintessentially Tarantino, become aware of what is happening around them in a very post-modern sense. The characters who we assume are fictional in the first part of the film become aware that they are in a completely unbelievable situation when faced with vampires and so react in a very real and believable way. It’s fictional characters within a world of their own fictional characters.
What makes this film brilliant in my mind is that this hidden depth really doesn’t matter if you just want to watch a good horror movie. If you’re not a Tarantino fan but really enjoy the bizarre horror of Army of Darkness then this film can easily be skipped forward till that part starts. Alternatively, if you prefer the former then completed viewing is not necessary because of the dubious, yet still complimentary, narrative. However, it is suggested that you watch the whole thing in your first viewing otherwise there are classic bits that shouldn’t be missed. The dialogue is as funny as the conversation about quarter-pounders with cheese in Pulp Fiction while the action is as sharp as in Once Upon a Time in Mexico with a story idea that works both by passive observation or critical analysis. From Dusk till Dawn is a definite viewing must for those on a vampire binge.