Jackie Brown
Starring Pam Grier, Samuel L. Jackson, Robert De Niro, Bridgett Fonda, Robert Forster Written and directed by Quentin Tarantino Rated R for violence and language
Dan's grade: A-
How do you follow-up "Pulp Fiction," without question one of the greatest films of the last decade?
You shift gears and get serious, which is exactly what "Jackie Brown" does, and very well.
Although it's clear during "Jackie Brown's" witty, off beat and colorful dialogue that it is without a doubt from the same mind that spawned "Pulp", this film, however, is more low-key and ponderous. There is a point in the film where the camera zooms in on Ordell's (Jackson) face at a very pivotal point-showing the serious anguish on what he has to do next. "Pulp" would never have taken the time to ponder like that. He would have just done it and it would be off to the next crazy scene.
Yes, in this film, Tarantino slows down, takes his time, and tells a story. And a fairly predictable one at that. But, what makes this work is the way its told, with lots of character development-and yes, Tarantino-esque dialogue.
The film begins with a long shot of Jackie, as she's running through an airport. And with the Bobby Womack song "Across 110th Street" accompanying her, her part is firmly established. A middle aged stewardess for a shitty little airline who is (paraphrasing the song) "doin' what she can to survive". And in this case, she's running cash for Ordell.
Samuel L. Jackson plays Ordell with the same panache he gave to Jules in "PF", but where Jules says he's a "Bad Mother Fucker"-Ordell truly is-in fact, where Jules finds a religious redemption (bizarre as it may be) at the end of "PF", Ordell is almost the devil himself. His dialog is edgy-hardly a sentence goes by without the word "nigger" in it. There are moments when he shows some doubt about what he is doing, but he doesn't let conscious stop him from doing his dirty job.
Even Robert De Niro and Bridgett Fonda make what could easily be "nothing" roles shine. Fonda plays Melanie, who's function as far as Ordell is concerned is really not much more than window dressing, but Fonda and De Niro share some of the best moments in the film. De Niro plays Louis, a just-released ex-con who, by the critical point in the film, the viewer wonders the same thing Melanie asks: "How in the hell did you rob all those banks?" Both Fonda's and De Niro's roles complement each other-and their respective demises are fitting in that respect.
Robert Forster plays Max Cherry, the bail-bondsman who manages to forge a unique relationship with Jackie-and sort of falls in love with her too-just enough so Jackie knows she can "use" him to help with her caper. Not that she doesn't share some feelings in return-but she realizes the position he is in, and takes advantage of the situation. Max cherry is probably the most good natured character ever seen in a Tarantino film to date-he is pretty much a regular guy who falls for Jackie just when she needs him.
And finally, there's Michael Keaton, who plays the somewhat slimy, by the book ATF agent, is, by the end, just another pawn in Jackie's little scheme.
Chris Tucker also plays the hapless Beaumont, who provides good comic relief, as well as a tool for Cherry to figure out what Ordell is really up to. His brief time on the screen is some of the funniest in the movie.
This film (albeit not quite as fun to watch) is a bit more mature than "Pulp Fiction". The craziness that was the signature of that film is merely used as a tool in Jackie Brown to develop the characters. If you go see this film waiting for the witty, in-your-face, quirkiness you loved in "Pulp", you get it, but it's in smaller doses and it is in service to a more serious story-that takes itself much more seriously.
Dan Meyer
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