He’s made two Westerns, a World War Two film, a two-parter Samurai inspired Revenge epic, a love letter to grindhouse cinema, and two crime dramas in “Reservoir Dogs” and “Pulp Fiction”. Not to mention his most recent project in “Once Upon a Time… in Hollywood” and “Jackie Brown”. Clearly, Tarantino is in love with cinema and it’s past. His work, while uniquely his own style, reflects periods of film history that ran roughshod over the Box Office for decades upon decades.. but there’s a fairly large part of American film history that he’s not touched upon, yet. Personally, I think making his final film a Musical would not only be a fascinating creative challenge for the auteur Director, but it would fill in the gap of referential Hollywood inspiration. Now, that’s not to say that I think the director would choose to make something along the lines of “Singin in the Rain” or “West Side Story” necessarily, but I believe he has the potential to make a statement and a hell of an exit from Hollywood if he truly does stick to his mantra of only making an even Ten movies. I’m not quite sure what the subject matter would or should be, but I have an idea of at least four major themes or ideas that would be intregral for a Tarantino Musical.
Revenge has been a major player in the back half of Tarantino’s filmography. Depicted most acutely in the “Kill Bill” movies, “Django Unchained”, “Inglorious Basterds”, and “Jackie Brown”, Tarantino is perhaps the filmmaker who has contributed most to this sub-genre of film in the last couple of decades. I’m not the most literate in the motivations of characters in Musicals over the decades but I don’t think there were many that focused on revenge as a major factor for a character’s plot progression. If so, then Tarantino would be breaking ground in the genre, and even if it has been done before, I doubt anyone could do it quite like Tarantino would. Guns, swords, knives, and Samuel L. Jackson (in some capacity), sounds like a recipe for one hell of a musical to me!
Tarantino himself has said that he spends the majority of his free time watching and analyzing old movies ad nausem, so perhaps there are certain films, actors, or styles of musicals that he’d like to homage. Much like how “Once Upon a Time… in Hollywood” recontextualizes the transition period of the late 1960’s that forced the old Hollywood studio system to fall from grace as audiences wanted grittier and more complex stories- perhaps there is a time period that Tarantino could use to his storytelling advantage? Who says the film has to be set in the modern era? Orson Welles, for example, used several of Shakespeare’s plays to differentiate the passing of one time period to the next and his associations with the past and the future in “Falstaff (Chimes at Midnight)” (https://spacecortezwrites.com/2020/11/26/old-school-review-orson-welles-falstaff-chimes-at-midnight-1966/). Tarantino could similarly paint his own rose-colored glasses onto whatever time period he saw fit to best represent his well recorded disdain for modern filmmaking compared to the rest of film history.
To be honest with you, I wouldn’t have even considered anything Tarantino does to be associated with the idea of Melancholy before “Once Upon a Time… in Hollywood”. That film, however, is doused in waves of a melancholic nostalgia that is present throughout the film’s runtime. This idea does pair with the previous notion listed above, but I believe there is enough of a difference for it to be it’s own category. For while Nostalgia is a longing for a time that’s past, one could fondly remember those times, whereas Melancholy is a more pensive sadness that can infect a person’s entire perspective of life. What better medium to express an inherent sadness at the idea of time and society’s evolution, than music and singing? Tarantino’s movies have always been powerful, funny, shockingly violent and occasionally crass- but he’s hardly ever touched upon sadness with the same commitment. Though, there are shades of it in “Inglorious Basterds” and “Kill Bill”- it’s a different kind of grief and despair in those films. Those were more “present” reflections and reactions due to personal and intimate actions taken against the main characters rather than a macro scale despondency at the state of things and people on the whole. “La La Land” would be the best most recent film that I can point to that expertly executes those emotions, though in a bittersweet heartwarming fashion. Tarantino probably wouldn’t go that route exactly, but if he could effectively pull on people’s heart strings like that movie did, maybe he’d ride out into the sunset with another slew of Oscars.
There’s an inherent rebellious punk attitude in much of Tarantino’s work, and while he has changed, matured, and evolved since his days of “Reservoir Dogs”, even “Once Upon a Time… in Hollywood” has that fiery spirit at its core. I believe that however he chose to approach the genre of Musicals, it would have that insurgent undercurrent throughout it. For someone that utilizes music and the scores of each film very specifically, I think he’s got what it takes to forge a unique take on the form. So, instead of that “Star Trek” adaption, why not make a completely unexpected move for his last hurrah? He could make an ode to cinema and further wedge himself into the annals of film history than he already has. Though, to be honest, I’ll watch whatever his last film is, he’s fucking Quentin Tarantino, man!
For fun, here’s a link to a Youtube video essay on the History of Musicals: