From dawn till dusk ending1/13/2024 He’s looking for the undead, keeping his eyes peeled at roadside stops, but no one takes him seriously. Maybe this other hypothetical Scott even fancies himself a vampire hunter. He talks about them before we ever see them, and thereby establishes a precedent for things vampire-related before the real vampires show up. Personally, I find the genre-busting aspect of this film daring, but I think there’s another version of From Dusk Till Dawn that exists out there in the ether, where maybe Scott is a Lost Boys-type kid who likes reading vampire comics. Not when it comes to all the abrupt vampire business at the end. The structure of From Dusk Till Dawn is rather bifurcated - like a devil’s tail - and when trying to reconcile the two halves of it, the first half doesn’t necessarily flow organically into the second half. There’s a juicy shock value to the film’s late emergence of the undead, but it also might be a deal-breaker for some viewers, sort of a nuke-the-fridge or crap-the-cot type of third-act scenario. Accordingly, they’re blindsided when the revelation comes, with only the man of God, Jacob, clocking the last-second warning of a knife dripping green blood. The Geckos and Fullers have no earthly reason to believe vampires exist. There are no overt clues about the existence of vampires in this corner of the Tarantino-verse, and while I can’t presume to know his intentionality or that of Robert Kurtzman, who conceived the story, I might hazard a guess that it’s because they wanted to put the viewer in the same boat as the characters. Its cold open is almost exactly that long: Clooney’s name comes onscreen right at the ten-minute mark.īefore we dig into its ending, it’s worth examining those first ten minutes to see how From Dusk Till Dawn foreshadows the shape it will take. Tonally, however, the movie tells you everything you need to know in the first ten minutes about what to expect from it. The Unasked Prep Question: “What If Vampires Exist? ”įrom Dusk Till Dawn plays its cards close to the chest and doesn’t give much (if any real) indication that it’s a vampire movie until well into its second half. Our hard-traveling antiheroes, the Geckos, are in the RV with their hostages, the Fullers, when they cross the border into Mexico and stop at the Titty Twister, a private bar “for bikers and truckers only.” This is where things get interesting. Tarantino himself plays Seth’s brother and partner in crime, Richie Gecko, and Juliette Lewis and Ernest Liu play Fuller’s daughter and son, Kate and Scott. Keitel plays the preacher with an RV and a crisis of faith, Jacob Fuller, and Clooney plays the fugitive bank robber, Seth Gecko. So I’m just going to use that as an excuse to take a deep dive back into this movie, which stars Tarantino regular, Harvey Keitel, and George Clooney in his first major movie role during his breakout ER period. It’s pretty self-explanatory, but to be perfectly candid, ending explainers drive SEO traffic, or so my editor tells me. I don’t know if the end of From Dusk Till Dawn really needs explaining. Wikipedia assures me that From Dusk Till Dawn is now a cult classic. The movie hit theaters on this date in 1996, which means that it’s the silver-plus-one anniversary today of the flick where characters argue about silver’s effect on vampires, or lack thereof. Those bloodsuckers barge in through the backdoor, so to speak, but From Dusk Till Dawn is more of a front door for us into the 2022 vampire movie centennial. Did you? Or were you surprised when it busted out the bloodsuckers? “I’m Pretty Sure Silver Has Some Sort of Effect” The first time I watched it, I don’t even think I knew it was a vampire movie. Tarantino and Rodriguez teamed again in 2007 for Grindhouse, which packaged itself as a double feature, and in a way, From Dusk Till Dawn is its own kind of double feature: part crime movie, part vampire movie, all satyr. There’s a sophomoric quality to From Dusk Till Dawn, well befitting a film scripted by a young Quentin Tarantino and directed by his B-movie blood brother, Robert Rodriguez. Marin’s monologue, peppered with the p-word (rhymes with “wussy”) and bestiality allusions, does sound like the kind of low-brow soliloquy a satyr would give. Spoilers for From Dusk Till Dawn, dead ahead. This is how the second half, or goat half, of the movie begins. It’s not just the profane poetry that Cheech Marin’s mic-wielding master of ceremonies unfurls at the door of the Titty Twister bar in Mexico. From Dusk Till Dawn leaves the impression of a randy satyr: half-man, half-goat, its scopophilic male gaze fixated on feet and other parts of the female anatomy that can only be rendered with asterisks in polite reading company.
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