The only (admittedly minor) complaint to make concerns the acoustics of the location. Still, when the actors stepped into the fray – for the arrival at the warehouse, the final showdown, or even the spectacular reveal of the mole (which I had my jump in my seat even though I knew who it was) – it worked. Tarantino’s dialogue is the main attraction, and so it’s best not to distract too much. The moments breaking the fourth wall were remarkably understated, but wisely so. Also, that Michael Madsen would be in attendance for a post-screening Q & A.”The guy’s a psycho,” Mr. Viewers were informed to turn off their mobiles, and of where they could find the nearest commode. In particular, the guy’s Buscemi accent was spot on. I especially enjoyed the mandatory “pre-movie” announcements, delivered in the style of Buscemi and Keitel by two solid impersonators. All that was missing was Little Green Bag blasting on the speaker system. Of course, once the time came to take our seats, these sharp-suited gentlemen were among the first out, strutting in that oh-so-recognisable fashion. The bar included helpful diagrams of the quays, rather than careful plans for a diamond heist.Īnd, while enjoying the pre-movie atmosphere, the iconic scene involving Mister Blonde and the captured police offer enfolded on-stage, and Tarantino’s wry discussion of the politics of tipping and the deeper meaning of Like a Virgin unfolded in the eating area, with well-chosen actors reading the lines in a style that seemed as natural as Tarantino at his best. Announcements were, of course, done in the style of K-Billy’s Super Sounds of the Seventies. Though well-known for its violence, Tarantino’s script sparkles with its witty dialogue and well-formed character, and so it was well suited to the format. After all, the film unfolds almost entirely in a warehouse, and could actually be adapted quite nicely into a play. Tarantino’s debut, to be honest, seems perfectly suited to this approach. The idea is to extend the film beyond the fourth wall, while being careful to enhance (rather than detract from) the movie experience. During their ambitious staging of Ridley Scott’s Alien, facehuggers dropped from the rafters at the appropriate moment. For example, for their screening of Snatch, the guys converted the back of the Tivoli Theatre into a Traveller Camp and treated us to a staged bare-knuckling boxing match as pre-movie entertainment. I’ll be running a review of Tarantino’s masterpiece sometime next week, when I’ve had a bit more sleep.įor those unfamiliar with the Jameson Cult Film Club, the idea is to arrange screenings of classic films in an innovative way, creating an immersive movie-going experience. Note: This is just an article about the wonderful screening held by the Jameson Cult Film Club, including an interview with the man himself, Michael Madsen. It was a great evening, organised with the same impeccable style as ever. It goes almost without saying that the Jameson folks threw one hell of a shindig, converting Dublin’s CHQ into the warehouse from Tarantino’s iconic debut – a film that had hosted its Irish premiere as part of the festival twenty years ago, a screening that host Rick O’Shea remembered fondly. To celebrate the first anniversary of that launch, the guys organised a special treat for movie fans in the capital – a screening of Reservoir Dogs, with Michael Madsen in attendance. Last year’s Jameson Dublin International Film Festival served as the launch of the Jameson Cult Film Club, with a screening of The Usual Suspects with Kevin Spacey in attendance. This event was held as part of the Jameson Dublin International Film Festival 2012.
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