TARANTINO: The scene would not be as disturbing without that song because you hear the guitar strain, you get into it, you go "Yeah, yeah," and you're tapping your toe and you're enjoying Michael Madsen enjoying his dance and then voom! it's too late, and you're a co-conspirator. Tarantino also thought the music made the viewers into participants in the scene. Tarantino's use of the upbeat music could also be a nod to the Stanley Kubrick film A Clockwork Orange, where a character dances and sings the bouncy "Singin' in the Rain" while violently torturing a couple and raping the wife during a home invasion. It just wouldn't be the same without K-Billy's seventies sounds. Think what the scene would feel like if some dramatic orchestra piece was playing ominously in the background, or if the scene was without music at all.
When "Stuck in the Middle With You" is playing while we watch Marvin's ear being severed from his body, we get a heightened experience of the horror. The bubblegum pop music actually amplifies the intense violence by providing a backdrop to sharply contrast with it. Tuning in to his favorite seventies station while torturing a cop, Blonde's almost telling us that this is no big deal for him it doesn't bother him a bit.
#RESEVOIR DOGS STUCK IN THE MIDDLE MOVIE#
This movie packs a high level of intensity. How exactly does the upbeat '70s music affect our experience of the movie? It acts as a counterpoint to the violence. It's always easier to torture people when there's music. Then Blonde mentions it when he asks the tied-up Marvin if he's ever heard of the station.
We hear about it first from Eddie during the diner scene, which gets all the characters reminiscing about some of their favorite old songs. This music is also being listened to by the characters. Here's what's interesting about K-Billy's Super Sounds of the Seventies: The music isn't simply some tracks that are played for the experience of the audience. The Reservoir Dogs soundtrack consists entirely of recorded tracks with no orchestral score-which was probably as much a budget choice as an aesthetic one.
Joe picked a great weekend to pull this gig because we have an awesome sound track with which to witness some seriously serious business. K-BILLY: Joe Egan and Gerry Rafferty were a duo known as Stealer's Wheel when they recorded this Dylanesque, pop, bubble-gum favorite from April of 1974 that reached up to number five, as K-Billy's Super Sounds of the Seventies continues. Don't you just love the smooth monotone of our boy K-Billy (played by comedian Steven Wright, whose own stand-up style wasn't too different from his line delivery as a radio DJ)? Can't you just hear his colorless voice when you read:
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