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| Grier and Jackson in Tarantino's fine film. |
Directed by Quentin Tarantino
Produced by Lawrence Bender
Written by Quentin Tarantino (script); Elmore Leonard (book)
Starring Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, and Robert De Niro
****
Releasing this three years after Pulp Fiction won him an Oscar, Tarantino continues to amaze and delight with this witty crime film. The title is the name of the film's protagonist, played by Pam Grier, who is a flight attendant mixed up with an arms dealer named Ordell Robbie (Jackson). When Jackie is caught smuggling his money and some cocaine from Mexico into the U.S. by a detective (Michael Bowen) and an ATF agent (Keaton), she manipulates the criminals and the cops, concocting a plan to get out of this predicament. In the process, weathered bail bondsman Max Cherry (Forster) falls into Jackie's scheme, and the other cast of characters are hurled into a web of deception and violence to get the rest of Ordell's money back to the States. As she plays both sides, Jackie must balance her relationship with Ordell and with the cops through a series of lies and backcrosses. These events culminate in a surprisingly heartwarming ending that isn't typical of the genre.
While Pulp Fiction (1994) and Inglourious Basterds (2009) are often regarded as Tarantino's best, Brown tends to be left out. This film is anything but highly touted, which astounds me. The dialogue is unique to these oddball characters, and Tarantino, as usual, keeps this lengthy ensemble piece from dragging. His writing is one of the best parts of this adaptation because he gives each of the characters a voice and lets each of them have his or her moment. Not a scene is wasted, and the cast backs up the director's vision of Leonard's material marvelously. Grier and Jackson are at their best as a clever, desperate woman and a devious, charming criminal. And the supporting cast is just as strong, especially Forster's masterful performance as Jackie's new friend and ally. Tarantino's wicked sense of humor, gift for pacing, and strong casting choices are on full display, and this ranks as one of his finest films.
While Pulp Fiction (1994) and Inglourious Basterds (2009) are often regarded as Tarantino's best, Brown tends to be left out. This film is anything but highly touted, which astounds me. The dialogue is unique to these oddball characters, and Tarantino, as usual, keeps this lengthy ensemble piece from dragging. His writing is one of the best parts of this adaptation because he gives each of the characters a voice and lets each of them have his or her moment. Not a scene is wasted, and the cast backs up the director's vision of Leonard's material marvelously. Grier and Jackson are at their best as a clever, desperate woman and a devious, charming criminal. And the supporting cast is just as strong, especially Forster's masterful performance as Jackie's new friend and ally. Tarantino's wicked sense of humor, gift for pacing, and strong casting choices are on full display, and this ranks as one of his finest films.
Oscar Tally: Nomination for Best Supporting Actor (Robert Forster)
I've had to defend myself so many times on why this is my favourite Tarantino film and I shouldn't have to preach to the high-heavens about it, because it is is freaking awesome and people need to start acknowledging it!
ReplyDeleteGlad you really enjoyed it as well and great review.
Thanks. I want to watch it again, but it's probably my favorite Tarantino film as well.
DeleteReally liked this movie, definetly prefer it to IB, Reservoir Dogs and Kill Bill2, not sure about KB1 and I liked PF more. I really neeed to rewatch it some time, love this movie and the soundtrack, especially the last song in the ending scene.
ReplyDeleteI think it's likely to replace Reservoir Dogs as my fav QT film.
DeleteI'm surprised that this film is so often overlooked when Pulp Fiction gets so much hype. Granted, I liked Pulp Fiction a bit better, but this has some of the same strengths, including unique, snappy dialogue and artful plotting.
ReplyDelete"AK-47. The very best there is. When you absolutely, positively got to kill every motherfucker in the room, accept no substitutes." :-P
Even Kill Bill gets mentioned more than JB. Don't think I'll ever understand that. I'll probably watch this again later this week, but I think I prefer it to Pulp Fiction. The scenes between Ordell and Lucas were far more enjoyable for me than those between Vincent and Jules, for instance.
DeleteHaha! Brilliant! :)
I quite liked the mall atmosphere, but in my opinion, the dialogue is not as quotable as Pulp Fiction, and with that in mind, Jackie Brown just wasn't as good as I had hoped it would be.
ReplyDeleteMaybe I sholdn't expect the same kind of dialogue, because I felt conversations in Jackie Brown are more natural and realistic than Pulp Fiction, would you agree with that?
The track Across 110th by Bobby Womack is super cool, did you listen to Bobby Womack's comeback album from 2012? Couple of tracks I enjoyed
Yes, I definitely agree they're more natural in Jackie Brown. Pulp Fiction is more quotable, but I loved so many scenes in Jackie Brown. And the interactions between the characters were more fun for me in JB, which was probably due to the more natural and realistic nature you mentioned.
DeleteNo, I didn't even know it existed. I'll check it out.
It IS a shame that Jackie Brown is often overlooked when discussing the complete oeuvre of QT. Either way, I love the hell out of this flick. The performances are so on point, and Fonda... whoa. Smokin' and perfect.
ReplyDeleteLike I said on Twitter, the scene stealer for me is Michael Keaton. The confident walk, the way he pours two cups of coffee, those goddamn sandals. Bliss.
Ahhh, Fonda. Indeed. :)
DeleteLove Keaton too. Definitely going to rewatch this in the next few days. It's just THAT good.