JACKIE BROWN ***1/2 (out of five stars) A review by Jamey Hughton
Starring-Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton and Robert De Niro Director-Quentin Tarantino Rated 14A Released December 1997 Miramax Reviewed July 14, 1999
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After the terminally bleak Reservoir Dogs and the brutally violent Pulp Fiction, Jackie Brown seems like something of a light-hearted departure for Quentin Tarantino. It's more of a ho-hum heist story with characters that speak the Tarantino language. Luckily, his showcase of actors convert every morsel of possible enjoyment onto the screen, and Jackie Brown has no trouble entertaining the average viewer.
The story introduces us to a street-wise black woman named Jackie Brown (Pam Grier), a flight attendant who smuggles money and drugs from one destination to another. She works for a bottom-of-the-barrel airline and receives a minimal salary. But one day, she is picked up by a pair of Federal Officials (including Michael Keaton as the tough-nosed Ray Nicolet), and found with a handsome load of cash and a small bag of smuggled dope. Jackie is working for a weapons dealer named Ordell (Samuel L. Jackson), who pays her bail money but suspects her of tipping off the feds about their operation. Soon Jackie and Ordell are plotting a way to smuggle $500,000 through to them under Nicolet's nose, with the help of Ordell's oaf of a partner (Robert De Niro) and drugged-out lady friend (Bridget Fonda).
Also entering the picture is a bail-bondsman named Max Cherry (Robert Forster), who takes a liking to Jackie and agrees at one point to make the situation even more complicated (how I won't say). The big drop-off is undoubtedly the high point of Jackie Brown, in which numerous double-crosses take place and many clothing store bags (filled with cash) switch hands. It's unfortunate that Tarantino takes his sweet time getting there, and doesn't offer anything extremely compelling while doing so. There are, as always, amusing exchanges between characters. The funniest repartee is between De Niro and Fonda, as he becomes annoyed with her constant bickering while making fun of his IQ, or lack thereof. The most interesting relationship is between Max and Jackie. A 56-year old white bail bondsman and a 44-year old black flight attendant with believable chemistry? You've got to commend the acting.
Jackie Brown is a seriously dragged-out exercise enlivened by such fine acting. The film clocks in at a lengthy 2 hours, 35 minutes. Tarantino's talky style manages to hold your attention heavily, but there are more than a few dramatic lapses and crucial lulls in the storyline. Also, fans of the director should be prepared for a lighter side to appear. Jackie Brown has four major shootings, and two of those take place mostly off-screen, so don't be expecting a typical Tarantino bloodbath. You can expect frequent foul language, mostly coming way of Ordell, who (much to the dismay of Spike Lee) uses the `N' word as part of his regular vocabulary.
The acting is the glue that holds everything together. Grier, making a sudden comeback from her reign in the 1970's, is more than adequate for the title character. In fact, she's flat-out great. Another comeback comes from former TV star Robert Forster, who does a grand job as Max Cherry, and is perfectly cast in doing so. Michael Keaton makes his presence felt, albeit in small but dignified moments, and De Niro is ideal in playing the lug-head who goes over the edge. Speaking of that, Bridget Fonda has relatively little to do as Ordell's bikini-clad beach babe, and yet she manages to look fairly occupied.
There's not a single sign of misplaced dialogue or snubbed line throughout the entire movie. Which is a life-saver for Mr. Tarantino. The story barely holds together in the meantime, and we merely get a small tremor whenever there should be a defeaning earthquake. But oh well. Jackie Brown manages to be an enjoyable detour from Quentin Tarantino, even if it is lacking the glaring and original bite of his previous work. Let's just hope that the director hasn't gone soft on us.
(C) 1999, Jamey Hughton
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