Image Credit: Quentin Tarantino, Pulp Fiction (1994)

Quentin Tarantino is one of the most renowned directors of the 20th and 21st century, with his nine famous feature films, ranging from Pulp Fiction (1994) to Kill Bill: Vol 1 (2003). Being long-standing favourites of cinephiles and, what social media has now coined, “film bros”, it is not hard to see why these films have so much appeal. They are packed with iconic characters, engaging plots, great cinematography, and talented actors. However, with the general heavy male influence and attention surrounding these films, it is essential to delve into the representation of women present across his discography and decide whether they are empowered or objectified.

Kill Bill, split into two films released in 2003 and 2004, is one of Tarantino’s main examples of an empowered female figure. Despite there being several examples of the protagonist being filmed through an objectified lens, such as the lack of a name for the leading character, who is merely referred to as “the bride”, as well as some scenes focused on her body, Kill Bill primarily focuses on the power and dedication of the leading figure. The plot revolves around the bride, who is nearly killed at her wedding, which then spirals into the extensive plot of her gaining revenge by hunting down the perpetrators. Played by Uma Thurman, the protagonist is a prime example of an autonomous female character who faces her enemies alone and without the traditional concept of a man having to protect or guide her. The character is shown to be strong and resilient but also human and tragic, the perfect mix between strength and independence but not stereotypically or cinematically conventional.

Pulp Fiction (1994) is one of Tarantino’s most famous films, known for the iconic dance between Vincent and Mia at the restaurant and the numerous graphic deaths that occur. Mia, also played by Uma Thurman, is the only main female character in the film (despite her limited screen time) and can be seen as both empowered but also objectified. She is centred around her husband, Marsellus, who asks Vincent to keep his wife company while he is away, consequently leading to the renowned scene in the 1950s themed diner. Mia’s real value to Vincent is her status as Marsellus’ wife, which leads to his panic when she overdoses later in the film – he is worried about the reaction of her husband, not necessarily her health. However, this shows Vincent’s objectification of her, not necessarily Tarantino’s, even though she does not have much of a role in the plot aside from her relationship with her husband. This character is presented as having her own thoughts and actions outside of her husband, as well as personality traits of determination and detachment seen through her interactions with Vincent. Therefore, despite being seen only as a wife, Tarantino still gives Mia character and insight into her personality aside from her relationship.

The most objectified of Tarantino’s female characters, however, are present in Once Upon a Time in Hollywood (2019). Sharon Tate, played by Margot Robbie, is one of the film’s central characters yet she has very few lines and a lack of agency in the plot. Tate is predominantly reduced to the male gaze in the film; however, this simulates the realities of stardom in this industry, with appearances often being valued more than talent. This spectatorship also reflects the number of people watching Tate’s work in the industry. Therefore, Tarantino objectifies the character of Tate, but it is difficult to conclude whether this is his singular intention or if it has a deeper meaning which voices the shadows of Hollywood. Furthermore, perhaps the most concerning objectification of women in this film is through the character of Pussycat, played by Margaret Qualley. Unlike the character of Tate, the film’s depiction of this character does not seem to have any higher purpose, and is merely her characterisation. For example, Pussycat is portrayed as an underage young woman, already exploited and part of a cult, yet there is significant focus on her body. The main issue around the depiction of both of these characters is the lack of depth given to them, providing no real critique or commentary, further contributing to the objectification seen on screen.

Overall, Tarantino’s work has a mixture of both empowered and objectified female characters, seen through the examples above, but also through some of his films not listed here (e.g. Inglorious Basterds (2009)). Despite the films containing scenes focusing on women’s bodies and containing the odd 2D female characters, his films are still definitely worth watching, due to the amazing cinematography, plots, and characters.