Dissecting Tarantino’s works psychologically may be a fool’s errand but dang, Richard Brody of the New Yorker almost does it.
It might be useful to think of Tarantino as a fundamentally (or aspirationally) Wagnerian filmmaker, who uses cinematic and pop-culture mythology as Wagner used the Norse legends, to offer a counter-world of high moral purpose as a challenge to a modernity that he finds all too complex and ambiguous.
but… read the rest of the article. It’s a fun read.
Some spoilers (“Django Unchained”) abound.
