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Sin City

Cover of The Hard Goodbye showing Marv walking through the rain
First appearance "Dark Horse's Fifth Anniversary Special" (April 1991) (1991)
Created by Frank Miller
Publication information
Publisher Dark Horse Comics
Formats Original material for the series has been published as a strip in the comics anthology(s) Dark Horse Presents and a set of limited series, graphic novels, and one-shot comics.
Genre Crime
Publication date 1991 – 2000
Main character(s) Marv
Dwight McCarthy
Nancy Callahan
Gail
Miho
John Hartigan
Wallace
Roark Junior
Creative team
Writer(s) Frank Miller
Artist(s) Frank Miller
Creator(s) Frank Miller
Reprints
Collected editions
The Hard Goodbye ISBN 1593072937
A Dame to Kill For ISBN 1593072945
The Big Fat Kill ISBN 1593072953
That Yellow Bastard ISBN 1593072961
Family Values ISBN 159307297X
Booze, Broads & Bullets ISBN 1593072996
Hell and Back ISBN 1593072988

Sin City is the title for a series of comics by Frank Miller, told in a film noir-like style (now known as Neo noir). The first story originally appeared in "Dark Horse's Fifth Anniversary Special" (April, 1991), and continued in Dark Horse Presents #51–62 from May 1991 to June 1992, under the title of Sin City, serialized in thirteen parts. Several other stories of variable lengths have followed. All stories take place in Basin City, with frequent recurring characters and intertwining stories.

A movie adaptation of Sin City, co-directed by Robert Rodriguez and Frank Miller with "special guest director" Quentin Tarantino, was released on April 1, 2005. The Sin City volumes were reprinted with new covers and in a reduced size to coincide with the motion picture's theatrical release. A planned sequel to the 2005 hit has been moved around the release schedule for years, with current plans having pre-production start in 2010.

Contents

Setting

Basin City, almost universally referred to by the nickname Sin City, is a fictional town in the American west. The climate is hot and arid, although Sacred Oaks is characterized as being heavily wooded. A major river runs through the city, which has an extensive waterfront. Usually twice a year, a major downpour comes, and (in That Yellow Bastard) the city gets heavy snowfall in the winter. In the comics, Basin City has a surreal, Pan-American feel. Desert lizards and palm trees are common, while tar pits, desert areas, mountain ranges and flat farmland make up the landscape around the city.

The Basin City Police are more or less along the lines of paramilitary or SWAT, as they have to deal with incredibly high crime rates among criminals and civilians alike, which is why they have access to what most would consider "heavy weaponry" and full body armor. Those who make up the force have been described as commonly being lazy, cowardly and/or corrupt. Only a handful of the cops are honest, though frequently the wealthy of the city bribe the corrupt members of the police into performing their duty (usually as a result of some crime being committed against a member of their family).

During the California Gold Rush, the Roark family "imported" a large number of attractive women to keep the miners happy, making a fortune and turning a struggling mining camp into a thriving, bustling city. Over the years, as the Roark family migrated into other areas of business and power, these women ended up forming the district of Old Town, the prostitute quarter of the city where they rule with absolute authority. In addition, the people charged with governing the city, most of them from the Roark line, remained in power for generations, running it as they saw fit.

As the various yarns progress, the audience gradually becomes familiar with key locations in and around Basin City.

  • The Projects, the run-down and poor side of Sin City, is a tangle of high-rise apartments where crime runs rampant. Its inhabitants have apparently evolved their own independent society with almost no legal contact with the outside world. Marv was born in the Projects and they make Dwight sick.
  • The Docks, a collection of wharfs and warehouses that are local to the Projects. Hartigan and Roark Junior have their first confrontation here in That Yellow Bastard, and Marv drives a stolen police car off one of the piers at the beginning of The Hard Goodbye.
  • Kadie's Club Pecos, a strip club/bar where Nancy Callahan and Shellie work, and Dwight McCarthy and Marv hang out. Though filled almost solely with drunk and violent men, Kadie's bar is one of the safest areas in Sin City. Marv, who possesses an extraordinarily high sense of chivalry, protects the female employees of Kadie's from any violence that makes its way inside.
  • Roark Family Farm (a.k.a. "The Farm") is located at North Cross and Lennox and shows up in several stories, including The Hard Goodbye, That Yellow Bastard, The Babe Wore Red and Hell and Back. It was also home to Kevin, a serial killer with ties to the Roark family. Marv burns down one of the buildings, and the Farm is abandoned sometime after the initial Sin City storyline.
  • Old Town is the red-light district and is off limits to the police, unless they're 'shopping'. This is where the city's population of prostitutes reside; it recently came under the control of the twins Goldie and Wendy. Though perfectly willing to engage in almost any sexual act for the right price, the women of Old Town show no mercy to those who "break the rules" and back up their independence with lethal force. The mob and pimps were thrown out after a period of fighting.
  • Sacred Oaks, home to the rich and powerful of Basin City. This suburb lies without the city proper, a half an hour drive uphill. A university of some sort is also located there, and the entire area is patrolled by armed employees of its wealthy inhabitants.
  • Basin City Central Train Station, which has a direct connection to Phoenix.
  • The Santa Yolanda Tar Pits, an abandoned amusement park of sorts outside the city, where several tar pits are located and dinosaur bones were excavated at some time. After a 'big-budget dinosaur movie' (probably a reference to Jurassic Park) caused a sensation, the county put up concrete statues of dinosaurs there to draw crowds. However, after an old lady fell through a railing into one of the pits and had a heart attack, the place was shut down indefinitely. They are frequently used as a place to dump things that people don't want found; high-schoolers also tend to sneak in there a lot. This is where Delia tells Phil to drive in Wrong Turn and where Dwight takes the corpses of Jackie Boy and his friends in The Big Fat Kill. Frank Miller has admitted the main reason the Tar Pits exist is as an excuse to draw the dinosaur statues.

Characters

Individuals

Organizations

Because a large majority of the residents of Basin City are criminals, there are several organizations and cartels central to the stories who are vying for monopoly over the various criminal enterprises in the city. Listed below are crime syndicates, gangs and other low-lifes who figure heavily in the Sin City mythos.

The Basin City Police Department
So deep do corruption and criminality run in Basin City that even their police officers qualify as a gang of paid thugs, turning a blind eye to the affairs of those too poor to pay them off. Few among them are considered incorruptible; even the honest officers are unable (or unwilling) to curtail the criminal actions of the dishonest ones. Notable characters in the series who are police include Detective John Hartigan, his partner Bob, Lieutenants Jack Rafferty and Mort, Commissioner Liebowitz, and Officers Manson and Bundy from Hell and Back.
The Roark family
A dynasty of corrupt landowners and politicians whose influence over Basin City has stretched as far back as the days of the Old West. Famous Roarks of this generation include a senator, a cardinal, an attorney general, and Roark Junior, 'That Yellow Bastard'.
The Girls of Old Town
Populating the region of Basin City known as Old Town are a group of women in the world's oldest profession, having made a truce with the cops to allow them to govern and police themselves. As of A Dame To Kill For, they were led by the twins, Goldie and Wendy.
Wallenquist Organization
A powerful crime syndicate led by Herr Wallenquist, a mysterious crime lord with a broad range of criminal enterprises to his name. Interestingly, though one of the city's two "normal" criminal organizations, the Wallenquist management seems to be the most peaceful and forgiving of the various leaders.
The Magliozzi Crime Family
The undisputed heads of the local Cosa Nostra, the Magliozzi family seems to be the purest example of "true" Mafia lifestyle. While they appear in only one story, it is hinted that the Mafia influence in Basin City's underworld is a lot larger than just their family.

Other groups that have been seen or mentioned in the comics include:

Tong gangsters
Mentioned, but not seen as of A Dame To Kill For. Miho's life was saved by Dwight when he secretly protected her during a fight with several Tong gangsters in a dark alleyway.
White slavers
Mentioned, but not seen as of A Dame To Kill For. Led by a man named Manuel, whose brothers were also involved. Were "taken care of" by Dwight prior to the events of A Dame To Kill For.
Irish mercenaries
Seen during The Big Fat Kill, most of them are evidently former I.R.A. members, as implied by one of the mercenaries referring to his glee at blowing up a public house (British pubs were targeted by the I.R.A.). All are killed by Dwight and Miho.

Sin City yarns

These are the individual stories, usually referred to as "yarns," set in Frank Miller's Sin City universe. For more info see List of Sin City yarns.

Collected editions

The stories have been collected into trade paperbacks and hardcover "Library Editions". The hardcovers include two releases, which include Volume 1 (Books 1-3) and 2 (Books 4-7 and "The Art of").

TPB

Name Contents ISBN
The Hard Goodbye Episodes #1–13 of 13 ISBN 1593072937
A Dame to Kill For Issues #1–6 of 6 ISBN 1593072945
The Big Fat Kill Issues #1–5 of 5 ISBN 1593072953
That Yellow Bastard Issues #1–6 of 6 ISBN 1593072961
Family Values The 128-page original graphic novel ISBN 159307297X
Booze, Broads, & Bullets A number of one-shots ISBN 1593072988
Hell and Back Issues #1–9 of 9 ISBN 1593072996

There is also a collection of art, The Art of Sin City.

Chronology

While it was the first story written, The Hard Goodbye was not the first story chronologically, with the first section of That Yellow Bastard as the first. The Dwight-related stories fall in between these, with the short stories fleshing out the time between the main stories. Here is a rough chronology of the "Yarns":

  • The first section of That Yellow Bastard, wherein Detective John Hartigan rescues Nancy Callahan from Roark Jr., resulting in Hartigan and Junior winding up in the hospital, occurs at least twelve years before the events of The Hard Goodbye. Hartigan is framed as a child molester and charged with raping Nancy Callahan. He is placed into solitary confinement for eight years. Interesting note, Liebowitz, of Hell and Back beats Hartigan, trying to gain a confession.
  • Ava leaves Dwight and marries Damien Lord some time during this, referred to in A Dame To Kill For.
  • Hartigan finds the nineteen-year-old Nancy Callahan when he is out on parole. It is also on this night that Dwight goes home with Shellie, and sleeps with her (he is seen whining to Shellie when Hartigan enters ‘Kadie’s’). Marv witnesses the reunion of Nancy and Hartigan, as shown in the beginning of Just Another Saturday Night.
  • The remaining events of That Yellow Bastard play out within the next few hours or so.
  • About a year later, Dwight secretly saves Miho from Tong gangsters; revealing this saves him during A Dame to Kill For.
  • Three years later, the twins, Goldie and Wendy, take over Old Town. A few weeks later, Ava Lord contacts Dwight and asks to meet him. Ava mentions that it has been about four years since they last saw each other and Dwight agrees. Manute interrupts their meeting. Fearing for her safety, Dwight goes to ‘Kadie’s’ and recruits the help of Marv. Shellie lectures Dwight at having not seen nor heard from him in six months.
  • Marv and Dwight attack the home of Damien and Ava Lord. Marv fights Manute, and Manute loses his eye in the process. After Damien is killed, Dwight is taken to Old Town by Marv, badly wounded. Dwight begins to be rehabilitated at this point.
  • Gail, Dwight, Miho and Shellie develop a plan to get revenge on Ava Lord. Gail and the others tell Shellie that Dwight is still alive, and brief her on what she should tell the cops. On this same night, Delia (A.K.A. Blue Eyes) is inducted into the service of Wallenquist, placing her in league with the Colonel. Marv is at the bar when Delia sweeps off with her prey, happily resuming his nocturnal drinking habits. Manute is also briefly seen interacting with the Colonel, sporting a neck-brace.
  • One night, possibly the same one as Blue Eyes, Marv meets Goldie at Kadie's. The Hard Goodbye begins with Marv waking and finding Goldie dead.
  • In the beginning of Marv’s rampage, he goes to “Kadie’s” to try and draw attention to himself. On the same night, Mort and Bob arrive at 'Kadie’s' (mere seconds after Marv’s arrival) and interview Shellie about Dwight's location following the murder of Damien Lord. She tells them all that briefed her on in Blue Eyes and sends them on their way.
  • A few days into Marv’s rampage, Bob (Hartigan's former partner in That Yellow Bastard) is shot dead by his partner Mort, who takes his own life (A Dame to Kill For).
  • Less than three months later, Ava and Wallenquist unite their criminal empires. Dwight McCarthy (with a new face), Miho, and Gail raid Ava Lord’s estate, with Manute being gravely injured by both Miho and Dwight. Dwight kills Ava.
  • The Babe Wore Red occurs, and in the story, Dwight states that Marv is currently on death row, framed for the deaths of Goldie and several others from The Hard Goodbye.
  • Fat Man and Little Boy occurs, if we assume the witness they failed to silence is Mary, and that the two are concurrent.
  • Eighteen months after the beginning of The Hard Goodbye, Wendy visits Marv on death row. A day later, he is executed by electric chair, dying on the second attempt as those "pansies" (as he insults them) didn't have enough juice on the first go.
  • Wrong Turn occurs and Delia kills the wrong target. Delia, the Colonel and Gordo dispose of the dead men. Wrong Turn features the first mention of Mariah, who makes her first appearance in Hell and Back.
  • Wrong Track occurs shortly after Wrong Turn, as Delia tries to kill the real target (on his way back from a delivery).
  • Following this, Hell and Back occurs. Wallace saves Esther, but she is captured by the Colonel’s men. During Wallace’s search, he comes in contact with Manute and Delia. Manute, now an enforcer for Wallenquist, helps Delia to manipulate Wallace (ala A Dame to Kill For). Wallace kills Delia and Gordo. Commissioner Liebowitz kills the Colonel. Mariah is inducted into the service of Wallenquist. Wallace and Esther leave Sin City.
  • The Big Fat Kill occurs. Miho slaughters Jackie Boy and his friends. Dwight, in an attempt to prevent a mob war, tries to dispose of Jackie Boy. The Old Town girl known as Becky betrays them to the mob (Wallenquist, represented through Manute) in an attempt to make money and get out of the prostitution game. Manute, embittered by the death of Ava Lord, captures Gail and encourages a trade: Jackie Boy’s head for Gail. Dwight and Miho arrange the trade, but the Old Town girls kill Becky and all of the other mob men. Manute is finally killed during a shoot-out. Wendy is also notably absent from this story, implying she was either still in hiding or otherwise preoccupied at the time, forcing Gail to take command of the girls.
  • Family Values takes place not long after, indicated by Dwight making reference to Miho’s previous killing of a cop (“The Big Fat Kill”), as well as his acknowledgement of Fat Man and Little Boy, who he says he shot in the legs last time he saw them (The Babe Wore Red).
  • Behind Door Number Three... occurs at some point after Marv's capture, most likely after he was visited in prison by Wendy on the night of his execution; this is suggested by the fact she is seen wearing either Marv's crucifix neck-lace or one very similar, perhaps as a gift from him or as a way of honoring his sacrifice.

It was previously assumed that Wrong Turn and Hell and Back could not be placed within the continuity. Wrong Turn and Wrong Track occur immediately after each other, because Delia is still after the same target. Hell and Back occurs after A Dame to Kill For but before The Big Fat Kill, because Manute is sporting a fake eye (golden in the film) and is still alive.

The short stories Rats, The Customer is Always Right, Daddy's Little Girl, and Silent Night are the hardest to place in the chronology, as some of them do not contain any of the series' regular characters, are not connected to the other stories, or do not give an idea of when the stories occur. We can assume that Silent Night is before The Hard Goodbye during the winter, as Marv is still quite alive and seen lumbering through one of Basin City's rare snow-storms. We can also assume that The Customer is Always Right occurs in between "That Yellow Bastard" and "The Hard Goodbye", as Robert Rodriguez himself stated this on the Sin City: Recut and Extended D.V.D. Edition. There is also some debate as to whether or not the old man's killer in Rats is a young Wallenquist. While never explicitly stated whether they are one and the same, both characters are balding, tall, fat, and wear identical glasses. It is implied  that the narrator of Rats is a fugitive Nazi war criminal.

Awards

Sin City: The Big Fat Kill won the Comics Buyer's Guide Fan Award for Favorite Limited Series for 1996. Sin City: Family Values won the 1997 Eisner Awards.[citation needed]

  • 1993:
    • The Hard Goodbye won the "Best Graphic Album: Reprint (Modern Material)" Eisner Award[1]
    • Frank Miller won the "Best Penciller/Inker, Black & White Publication" Eisner Award, for The Hard Goodbye[1]
    • Frank Miller won the "Best Writer/Artist" Eisner Award, for The Hard Goodbye[1]
  • 1995:
    • A Dame to Kill For won "Best Limited Series" Eisner Award[2]
    • "The Babe Wore Red," won "Best Short Story" Eisner Award[2]
  • 2008:
    • Sin City won the "Best Black & White Title" Project Fanboy Award[7]

Style

Frank Miller using high contrasts in Sin City

Sin City is famous for its artwork, which draws heavily from film noir, including its use of shadow and stark backgrounds. Black and white are the sole colors most of the time with exception of red, yellow and blue in some stories. Partial color usage is designed to draw attention to a certain character in the story.

The writing style also draws heavily on detective and crime pulp fiction. Strange metaphors and similes are often used. This gives the narration a very "pulpy" feel.

See also

References

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

Sin City is a 2005 neo-noir film about the ultra-violent denizens of Basin City.

Directed by Robert Rodriguez (Frank Miller is credited as Co-Director, and Quentin Tarantino as Special Guest Director). Based on Frank Miller's graphic novels of the same name.

Contents

Dwight

  • You shut the hell up, Jackie Boy. You're dead. I'm just imagining this, so shut the hell up.
  • Dozens of them, armed to the teeth. I'm outnumbered, outgunned... but the alley is crooked, dark, and very narrow. They can't surround me. Sometimes you can beat the odds by a careful choice of where to fight...Where to fight counts for a lot, but there's nothing like having your friends show up with lots of guns.
  • Most people think Marv is crazy. He just had the rotten luck of being born in the wrong century. He'd be right at home on some ancient battlefield swinging an axe into somebody's face. Or in a Roman arena, taking his sword to other gladiators like him. They would've tossed him girls like Nancy back then.
  • I'm Shellie's new boyfriend, and I'm out of my mind. If you so much as talk to her or even think her name, I'll cut you in ways that'll make you useless to a woman.
  • You made a big mistake yourself...you didn't flush.
  • A hardtop with a decent engine. And make sure it's got a big trunk.
  • It's time to prove to your friends that you're worth a damn. Sometimes that means dying, sometimes it means killing a whole lot of people.
  • I let him know I'm not fooling around.
  • She doesn't quite chop his head off. She makes a Pez dispenser out of him.
  • Sure, he's an asshole. Sure he's dead. Sure, I'm just imagining that he's talking. That doesn't stop the bastard from being absolutely right.
  • I don't have a chance in hell of outrunning this cop. Not in this heap. The only question left is whether I'm gonna kill him or not. Tough call. For all I know, he's an honest cop, regular guy. Working stiff with a mortgage, a wife and a pile of kids.
  • Little Miho, you're an angel, you're a saint, you're Mother Teresa, you're Elvis. You're God. And if you'd gotten here about ten minutes sooner, we'd still have Jackie-Boy's head.
  • The girls all know the score. No escape. No surrender. No mercy. We got to kill every last rat bastard one of them, every last one. Not for revenge. Not because they deserve it. not because it'll make the world a better place. We need a heap of bloody bodies so when the mob boss, Wallenquist, looks over his charts of profits and losses, he'll see what it cost him to mess with the girls of Old Town. The valkyrie at my side is shouting and laughing with the pure, hateful, bloodthirsty joy of the slaughter. And so am I. The fire, baby. It'll burn us both. There's no place in this world for our kind of fire. My warrior woman. My valkyrie. You'll always be mine. Always. And never.
  • Miho, I hope to hell ya left one of them alive enough to talk.
  • Just look at that trunk. We'll never fit them all in.

Hartigan

  • Hell of a way to end a partnership. Hell of a way to start my retirement.
  • [While police brutally try to blackmail him] This is just a price I promised myself I'd pay, now I'm paying it. You don't save a little girl's life and then turn around and throw her to the dogs. Not by my books. They want a confession? They won't get it.
  • I take his weapons away from him. Both of them.
  • Things go dark. I don't mind much. It's okay. She'll be safe. An old man dies. A little girl lives. Fair trade.
  • Skinny little Nancy Callaghan. She grew up. She filled out.
  • [after being shot several times] I'm doing fine, Bob. Never better...ready to kick your ass.
  • When it comes to reassuring a traumatized 19-year-old, I'm about as expert as a palsy victim doing brain surgery with a pipe wrench.
  • There's wrong and there's wrong and there's this.
  • Let go of my coat, Bob.
  • This guy smells awful. Like bad food. Like a corpse left in a garbage dumpster in the middle of summer, he stinks so bad I want to throw up.
  • Just one hour to go. My last day on the job. Not my idea. Doctor's orders; heart condition. Angina, he calls it. I'm polishing my badge and getting myself used to the idea of saying goodbye to it. It and the thirty odd years of protecting and serving and...blood and terror and triumph it represents. I think about Eileen's slow smile, about the thick fat steaks she picked up from the butcher's today. I think about the one loose end I haven't tied up. A young girl who's out there, somewhere, helpless in the hands of a drooling lunatic.
  • An old man dies, a young woman lives. Fair trade.

Marv

  • You can scream now if you want.
  • [During his execution] Will you get a move on, I haven't got all night.
  • Lucille's my parole officer. She's a dyke, but God knows why. With that body of hers she could have any man she wants.
  • I'm on my feet for about ten minutes before the cops kick them out from under me. They don't ask me any questions. They just keep knocking the crap out of me and waving a confession in my face. And I keep spitting blood all over it and laughing at how many fresh copies they come up with. Then along comes this worm assistant district attorney who turns the recorder off and says if I don't sign their confession, they'll kill my mom. I break his arm in three places and I sign it.
  • He never screams. Not even when the mutt's had its fill. Kevin's guts are lying all over the place and somehow the bastard is still alive still staring at me. Not even when I grab the saw and finish the job, he never screams.
  • I've been framed for murder and the cops are in on it. But the real enemy, the son of a bitch who killed the angel lying next to me, he's out there somewhere, out of sight, the big missing piece that'll give me how and the why and a face and a name and a soul to send screaming into hell.
  • Guess when I shot you in the belly, I aimed a little too high. [Shoots him in the crotch]
  • The night is hot as hell. I'm in a lousy room in a lousy part of a lousy town. I'm staring at a goddess, she's telling me she wants me. I'm not going to waste one more second wondering how I've gotten so lucky...She smells like angels oughta smell. The perfect woman. The goddess.
  • I don't know about you, but I'm having a ball.[while dragging a man across the road by his face with a car]
  • Walk down the right back alley in Sin City and you can find anything...
  • I'll stare the bastard in the face as he screams to God, and I'll laugh harder when he whimpers like a baby. And when his eyes go dead, the hell I send him to will seem like heaven after what I've done to him.
  • That there is one damn fine coat you're wearin'. [repeated on several occasions]
  • Aww, Jerks! They should've shot me in the head...and enough times to make sure.
  • I love hitmen. No matter what you do to them, you don't feel bad.
  • This is blood for blood, and by the gallons! This is the old days, the bad days, the all-or-nothing days! They're back!
  • When I need to find something out, I just go out and find somebody that knows more than me, and I go and I ask them. Sometimes I ask pretty hard.
  • Worth dying for. [gunshot] Worth killing for. [gunshot] Worth going to hell for. [final gunshot] Amen. [said while shooting the priest in a church]
  • Modern cars — they all look like electric shavers.
  • When you got a condition, it's bad to forget your medicine.
  • I was pretty steamed about what he had done to Lucille, so I took my time with that son of a bitch. It wasn't until I showed him all of those pieces of himself that he gave me a name.
  • Patrick Henry Roark. A man of the cloth. Could've become president but chose to serve God, and along the way just happened to become one of the most powerful men in the state. He's brought down mayors and govenors like they were nothin'. Even made his rotten brother a US senator. And now here he's gonna die in the name of a dead hooker. More and more I like the sound of it.
  • Then it hits me like a kick in the nuts: What if I'm wrong? I've got a condition. I get confused sometimes. What if I've imagined all this? What if I've finally turned into what they've always said I'd turn into? A maniac. A psycho killer.
  • Can't kill a man unless you know for sure you ought to.
  • I know it's pretty damn weird to eat people.
  • I got 'em good for you, didn't I, Goldie?
  • [Last words] Is that the best you can do, you pansies?
  • Hell's waking up every goddamn day and not even knowing why you're here.

Shellie

  • Jackie-Boy, it's a regular African love-fest in here. I got me all five starters and half the bench of the Basin City Blues keeping me company. You feel like taking them on?
  • Shut up and keep your hands to yourself or I'll cut your little pecker off!
  • Wish you coulda dropped by earlier, Jackie-Boy. You coulda met my new boyfriend. Coulda seen what a real man looks like.

Nancy

  • And here I thought you'd forgotten all about me. Me and my dumb letters.
  • Let me stay close. Nothing can happen to me when I'm with you. Please? Let me stay close.
  • It's always been you, Hartigan. All these years.
  • I didn't scream, Hartigan. Not once. I didn't scream

Jackie-boy

  • I know you're angry, baby. And I forgive you for that without you even asking me to.
  • It's one thing for you to play hard to get... but don't go trying to cut my nuts off.
  • I've had a hell of a day. I been beat up every time I turn around. But the day I get turned down by a whore when I got good cash money to pay her with... well, there's only so much a man can take.
  • [after getting slashed by Miho] Out of nowhere... without any reason!
  • Nobody ever really quits. A smoker's a smoker when the chips are down. And your chips are down.
  • You're makin' a big mistake, man... a big mistake.
  • Those hookers let you down!

Gail

  • I tied those knots — that's my specialty!
  • Yeesh.
  • He's dead. He's just too damn dumb to know it.
  • We got guns. We'll fight the cops, and the mob, and anybody who tries to move in on us. We'll go to war!
  • You stupid little bitch!
  • Your precious scrawny little neck.[said before tearing a piece of skin off Becky's neck with her teeth.]
  • My man will find a way. He always finds a way.

Becky

  • It's not a woman you need, it's a good night's sleep. You couldn't handle a woman in the state you're in.
  • Aw, sugar, you just gone and done the dumbest thing in your whole life.
  • I didn't have no choice. They were gonna hurt my mom.
  • You could've ripped my throat out, you crazy whore!

Others

  • Wendy: Kill him for me, Marv. Kill him good.
  • The Salesman: Turn the right corner in Sin City and you can find anything
  • The Salesman: Care for a smoke? [repeated line]
  • Brian: I coulda put a bullet in your ear just now, laddy, if I hadn't gone off and got me revolver all wet and useless.
  • Brian: Better come clean with ya now, sweetheart. That was an outright lie I was giving ya about my revolver.
  • Junior: You recognize my voice, Hartigan? You recognize my voice, you piece-of-shit cop? I look different, but I bet you can recognize my voice.
  • Senator Roark: Power don't come from a badge or a gun. Power comes from lying. Lying big and gettin' the whole damn world to play along with you. Once you've got everybody agreeing with what they know in their hearts ain't true, you've got 'em by the balls.
  • Senator Roark: Everyone would lie for me. Everyone who counts. Otherwise, their own lies — everything that runs Sin City — it all comes tumbling down like a pack of cards.

Dialogue

The Salesman: [voiceover] She shivers in the wind like the last leaf on a dying tree. I let her hear my footsteps, she only goes stiff for a moment.
The Salesman: Care for a smoke?"
The Customer: Sure, I'll take one. Are you as bored by that crowd as I am?
The Salesman: I didn't come here for the party, I came here for you. I've watched you for days, you're everything a man could ever want. It's not just your face, your figure, your voice. It's your eyes, all the things I see in your eyes.
The Customer: What is it you see in my eyes?
The Salesman: I see a crazy calm. You're sick of running, you're ready to face what you have to face but you don't want to face it alone.
The Customer: No, I don't want to face it alone.
The Salesman: [voiceover] The wind rises electric. She's soft and warm and almost weightless. Her perfume with sweet promise that brings tears to my eyes. I tell her that everything will be alright. That I'll save her from whatever she's scared of and take her far far away. I tell her I love her. [gunshot] The silencer makes a whisper of the gunshot. I hold her close until she's gone, I will never know what she was running from. I'll cash her check in the morning.

Cardinal Roark: Will that bring you satisfaction, my son? Killing a helpless, old, fart.
Marv: Killing? No. No satisfaction. Everything up until the killing, will be a gas.

Marv: I had to fight some cops.
Lucille: Oh, that's lovely. You didn't happen to kill any of them, did you?
Marv: Not that I know of, but they know they been in a fight, that's for damn sure.

Gail: Those boys in that Chrysler are one mistake away from seeing what Miho can do, and she's been aching for some practice.
Dwight: She guides my glance upwards to the pixy perched on the roof's edge. Deadly little Miho.

Wendy: You sat there and took it... when you could've taken my gun away from me any time you wanted to...
Marv: Sure, but I thought I might be able to talk some sense into you. And I probably would've had to paste you one, getting the gun, and I don't hurt girls.

Marv: Wait a minute. Why'd she call you Wendy?
Wendy: Because that's my name, you ape. Goldie was my sister, my twin sister.
Marv: I guess she was the nice one.

Hartigan: I'm looking for Nancy Callahan?
Shellie: Eyes to the stage, pilgrim. She's just warming up.

Gail: Those four in the Chrysler, are they some of the barmaid's boyfriends?
Dwight: One of them thinks he is. I followed him here to make sure he didn't hurt any of the girls.
Gail: Us helpless little girls.

Marv: There's no settling down. It's going to be blood for blood and by the gallons. It's the old days. The bad days. The all-or-nothing days. They're back. There's no choices left and I'm ready for war.
Lucille: Prison was hell for you, Marv. It'll be life this time.
Marv: Hell? You don't know what hell is. None of you people do. Hell isn't getting beat up or cut up or hauled in front of some faggot jury. Hell is waking up every god damn morning and not knowing why you're even here. Why you're even breathing.

Cast

Mickey Rourke - Marv
Bruce Willis - John Hartigan
Clive Owen - Dwight McCarthy
Benicio del Toro - Det. Jack Rafferty ("Jackie-Boy")
Jessica Alba - Nancy Callahan
Nick Stahl - Yellow Bastard ("Junior")
Brittany Murphy - Shellie
Elijah Wood - Kevin
Jaime King - Goldie (and Wendy)
Rosario Dawson - Gail
Powers Boothe - Senator Roark
Rutger Hauer - Cardinal Roark
Devon Aoki - Miho
Alexis Bledel - Becky
Michael Clarke Duncan - Manute
Josh Hartnett - the Salesman
Michael Madsen - Bob
Frank Miller - the Priest

External links

Wikipedia
Wikipedia has an article about:

Sin City quotes at the Internet Movie Database


Wiktionary

Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary

English

Proper noun

Singular
Sin City

Plural
-

Sin City

  1. (slang) a common nickname for Las Vegas, Nevada, USA [1] [2] [3] [4] [5]
  2. (dated, slang) Sin City and Sin Cité a nickname for prohibition-era Montreal, Quebec, Canada [6] [7] [8]

References

  • Notes:
  1. ^ Las Vegas Chamber of Commerce "Sin City"
  2. ^ The Independant, Lovin' Las Vegas: A wild week in Sin City
  3. ^ LA Times , Lake Las Vegas, Sin City's alter ego
  4. ^ BBC News, Legalising prostitution in Las Vegas
  5. ^ ABC News, PRIMETIME: Sin City - Las Vegas: 9/15/03
  6. ^ McGill Tribune, Sex and the City: Montreal as the hotbed of smut
  7. ^ New York Post, MONTREAL - FRENCH FLAIR IN OUR OWN BACK YARD
  8. ^ Rough Guide, Montreal Travel Guide (Montreal, Quebec)

Simple English

Sin City is the title of a number of stories by Frank Miller, written in a comic book-style and the name of a movie that is based on the books.

Sin City movie

A movie version of the Sin City books was released in 2005. It starred a number of famous actors, including Jessica Alba, Brittany Murphy, Bruce Willis, and Elijah Wood. The movie was directed by Frank Miller, Robert Rodriguez, and Quentin Tarantino.

The movie is based on four stories from the Sin City books: "The Customer is Always Right", "The Hard Goodbye", "The Big Fat Kill" and "That Yellow Bastard".

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