Perhaps Rodriguez’s strongest style element in his films is his celebration of Latin culture and heritage. Rodriguez announces himself with scenes that feel straight out of the modern Western aesthetic and action-packed sequences he’s best known for, like the opening robbery sequence where Seth and Richie stroll away from a local gas station as it burns and the balls-out insane, close-up and smash-cut laden free-for-all that happens at the Titty Twister, with special emphasis given to Sex Machine and his unique weapon. The vampires with the ridges and more monstrous appearances, meanwhile, like Danny Trejo’s Razor Charlie, remind you a bit of vampires seen in Buffy the Vampire Slayer and Lost Boys.įrom Dusk Till Dawn has all the trademarks of both famous directors. Each vampire has a unique set of styles and designs Santanico’s vampiric form is more reptilian and snakelike, something alluded to in her dance (which is a very nice touch once you realize the connection). The special effects are strongest in the creation of the Titty Twister’s monstrous residents, and you can tell the KNB special effects team had a ton of fun creating such varied vamps. Following Santanico’s dance, all hell breaks loose, and we finally get into the good stuff we’ve all been waiting for: the vampires attack and go full force. Instead, she presents a femme fatale that would sooner seduce you…and then eat you for dinner. She does not let her fear show onscreen, however. Hayek has explained in several interviews how she had to go into a trance-like state in order to perform the dance, as she suffered from ophidiophobia (a fear of snakes). That scene, in fact, may have even had a hand in Hayek becoming a more mainstream actress outside of Rodriguez’s Mexico Trilogy. Savini steals every scene he is in, and he’s clearly having as great a time playing this character as we have watching him.īut perhaps what most will remember From Dusk Till Dawn for is Salma Hayek as Santanico Pandemonium and her infamous snake dance. It is here that we are introduced to probably one of the most badass characters in the history of film: Tom Savini as Sex Machine, a biker with a memorable weapon akin to Rose McGowan’s Cherry Darling in Planet Terror. The outside of the Titty Twister feels like some sort of neon-soaked Mad Max universe establishment, while the inside looks more like someone decided to set up shop on top of an Aztec temple which, toward the end of the film, makes a whole lot of sense. The rest of the plot and most of the action happens at the Twister-in more ways than one. How often do you get to see two powerhouse actors like them play off each other?įrom Dusk Till Dawn juggles many different types of genres at the beginning, but it shines most as a staple in cult film when the group arrives at the Geckos’ destination in Mexico: The Titty Twister, a strip club where Seth and Richie are supposed to meet Carlos (frequent Rodriguez collaborator Cheech Marin, who plays three roles in the film). A particular scene in this sequence, between Clooney and Keitel, is a sure highlight. It is here that the film takes on an almost road trip vibe, giving us the chance to see the brothers interact with the family at their mercy. Meanwhile, Tarantino’s performance as Richie clues you in on the fact that something isn’t quite right about the youngest Gecko sibling, a suspicion confirmed 20+ minutes into the film.Īs the film progresses and the Gecko brothers run out of options in their pursuit of making it to the border to Mexico, Seth and Richie encounter the Fuller family led by the patriarch Jacob (frequent Tarantino collaborator Harvey Keitel), a pastor questioning his faith in God while on a journey cross-country with his kids ( Juliette Lewis and Ernest Liu). įrom the beginning, you get the sense from George Clooney’s performance as Seth that he is the cooler older brother that keeps a level head even when the plan goes to shit. The pair had been part of an anthology film in 1995 entitled Four Rooms, and they would later collaborate in 2007 with Grindhouse (Rodriguez directing Planet Terror and Tarantino directing Death Proof) but it was their 1996 venture, From Dusk Till Dawn, that really showcased what the pair were capable of. In 1996, Rodriguez was coming off the success of his Mexico Trilogy with El Mariachi and Desperado, while Tarantino was coming off the success of Reservoir Dogs and Pulp Fiction. I’m talking of course about Robert Rodriguez and Quentin Tarantino. So, it would make sense that these two renegades in filmmaking would not only team up but become friends and mainstays in the world of cinema. They were modern day cowboys of film-instead of pistols and dusters, they wielded cameras and pens.
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