Cinema Speculation by Quentin Tarantino Summary

Cinema Speculation blends film criticism, personal memoir, and New Hollywood history, analyzing 13 iconic 1960s–70s films like Taxi Driver and Bullitt. Tarantino explores how these movies shaped his worldview, interspersing behind-the-scenes lore, speculative "what if" scenarios (e.g., Brian De Palma directing Taxi Driver), and tributes to critics like Pauline Kael.

This book suits film buffs, Tarantino fans, and anyone intrigued by 1970s cinema. Its mix of sharp analysis, industry gossip, and unfiltered opinions appeals to readers who enjoy non-academic film writing. New Hollywood enthusiasts will appreciate deep dives into classics like Deliverance and The Getaway.

Yes—if you enjoy passionate, opinionated film criticism. Tarantino’s humor and encyclopedic knowledge shine, though his biases (e.g., championing B-movies) polarize. The book’s speculative chapters, like reimagining Taxi Driver, offer fresh perspectives missing from traditional film history.

Tarantino credits critics Pauline Kael, Roger Ebert, and Kevin Thomas for shaping his tastes. He replicates Kael’s provocative style, dissecting films like Dirty Harry with equal parts reverence and nitpicking. The book also mirrors his podcast debates, blending trivia with bold claims.

Tarantino examines 13 films, including Bullitt (1968), The Outfit (1973), Taxi Driver (1976), and Hardcore (1979). Lesser-known picks like Rolling Thunder (1977) highlight his affinity for gritty action, while chapters on Daisy Miller (1974) reveal his softer side.

Yes. Tarantino shares anecdotes, like Walter Hill’s clashes on The Getaway and how Taxi Driver almost cast Cybill Shepherd. These tidbits contextualize New Hollywood’s turbulent creativity.

Some argue Tarantino’s subjective takes prioritize nostalgia over objectivity. His dismissal of auteur theory and uneven chapter depth (e.g., brief Sisters analysis) polarize critics. However, fans praise its energy over dry academia.

Unlike scholarly texts, Tarantino’s book reads like a dinner conversation with a film-obsessed friend. It’s closer to Kael’s For Keeps than Bordwell’s film theory, emphasizing personal connection over formalism.

The book’s focus on revenge (Rolling Thunder), machismo (Dirty Harry), and flawed heroes mirrors films like Kill Bill and Pulp Fiction. Tarantino also revisits his trademark dialogue obsession, dissecting scripts like Taxi Driver.

Tarantino uses historical facts as springboards for imaginative alternate histories, like De Palma’s Taxi Driver or a Dirty Harry sequel with Clint Eastwood. This approach mirrors his filmmaking—blending reality and fantasy.

Deep cuts include The Funhouse (1981), a horror flick Tarantino defends as art, and Paradise Alley (1978), Sylvester Stallone’s passion project. These chapters showcase his knack for rehabilitating “trash” cinema.

Tarantino argues the era’s raw creativity declined post-1981, replaced by blockbuster formulas. He frames films like Escape from Alcatraz (1979) as last gasps of auteur-driven grit.