“Jackie Brown” (1997)
Across 110th Street with Foxy Brown.
A continuation in a series of older pieces of writing dating back nigh on a decade and which sit within a much larger article comprising the director’s entire career. As these are often my first pieces of long form writing and film appreciation, I’m reproducing them as stand alone articles and after releasing similar articles for Pulp Fiction, Django Unchained and Once Upon a Time in America, here’s my loving treatise of Quentin Tarantino’s finest film to date, Jackie Brown.
Many of my reasons for loving this masterpiece of a film are contained within the reproduced article that follows and should you also wish to delve into my opus articles on QT’s entire career at the time I originally compiled this article (Reservoir Dogs to The Hateful Eight), please see the link at the end of this opening section.
Why Jackie Brown?
Pam Grier. Samuel L Jackson. Robert De Niro. Bridget Fonda. Michael Keaton.
“Across 110th Street”
“Didn’t I blow your mind this time?”
And for Robert Forster and the performance of a career.
And for shouting “Don’t let her go Max!” every single time I watch this beautifully enchanting love story.
“My ass may be dumb. But I ain’t no dumbass!”
Based on Elmore Leonard’s “Rum Punch” (although Tarantino wrote the screenplay), this is very much his homage to 1970’s cinema and blaxploitation films in particular. As he’s noted several times, these were the films he grew up on, sneaking into dirty Grindhouse cinemas to watch Pam Grier (also referenced in Reservoir Dogs) a firm teenage favourite. The first Tarantino film to use a standard linear time line, this remains my personal favourite and considering the love I have for all Tarantino films, this is high praise indeed. It’s my favourite purely because everything is subtle, the comedy is very black, but subtly done in so many distinct ways, the touches and flourishes of Tarantino are very evident, as are the flashbacks and the first split screen narrative. Suffice to say, the characters are rich and detailed and the screenplay is a joy. And although a homage, it’s not overly so, and even subtle in this way too. As with all Tarantino films, the soundtrack from his personal collection is a joy, eclectic, yet often more tender than his previous (and future) films. The first scene and set up magnifies all these, and much more.
The film is bookended by “Across 110th Street” by Bobby Womack, and is played in full both times. Firstly, it accompanies a rolling shot of “Jackie Brown” (Pam Grier) as she makes her way hurriedly to an airport departure gate. Early opening credits are rolled with a nod and homage to Blaxploitation Cinema and as with previous films, the upcoming segments and narratives are titled, such as “Hermosa Beach, California”, “The City of Carson” and “LA International Airport”. By the third of these narratives, all main characters have been introduced and that’s where we’ll start.
Hermosa Beach, California
“Ordell Robbie” (Samuel L Jackson) is a gun selling gangster, eloquent, cocksure and determined that nothing or no-one will prevent him from an early retirement on his awaited profits. As always, Samuel L Jackson brings an unlikeable character to life brilliantly, expertly and the ultimate compliment being that although thoroughly unlikeable you actually like him! Girlfriend “Melanie” (Bridget Fonda) is a stoner, preferring to get high and enjoy life rather than the daily grind. Ordell’s “surfer girl”, this is accentuated by Tarantino often showing only her toes or long legs and this is deliberately done for effect. Brilliantly played by Bridget Fonda, this is also the first character to hint at and indeed accentuate the sexual tension in the film, as her glances and looks at “Louis” testify. Louis is Robert De Niro at his finest. In these early scenes he is virtually mute, either disinterested, uninspired or simply trying to readjust to life outside prison. Often talked at as opposed to being talked to, the opening scene and “Chicks with Guns” is equal parts hilarious, surreal and bizarre.
The City of Carson
Ordell and Louis visit “Max Cherry” (Robert Forster) to secure a bail bond on “Beaumont Livingston” (sublime cameo from Chris Tucker), who’s an employee of Ordell’s. With Louis very much in the background, this is a trademark Tarantino scene, of close ups on photo’s, coffee mugs and other seemingly irrelevant objects. However it’s the framing of Max and Ordell, and the superb performances from Forster and Jackson that are to the fore. Four main camera angles are used, with quick editing between the four raising the tension. Either close up or extreme close up on each of the two characters and a short scene, but this confirms to the audience all we need to know. Samuel L Jackson as Ordell is again superb, smoking nonchalantly without a care in the world, relaxed and unfazed, it’s pitch perfect and reveals a slightly more likeable layer to that of the first scene.
Robert Forster as Max deserves a special mention as, in my humble opinion, it’s the performance of his career. Sublime and never flustered despite the chaos surrounding him, it’s a quiet, composed and assured performance. With little or no real narration in the film, Max (and Forster’s performance) become our story narrator, the film’s soul and reason and deliberately so from writer Tarantino. It’s clear very early on that Max falls in love with Jackie and it is her and her alone that can fluster Max, but more of this later.
Parking Lot, LA International Airport
After Jackie is stopped at the Airport by two ATF (Alcohol, Tobacco and Firearms) Agents, our main cast list is complete. In a supporting role as “Mark Dargus” is Michael Bowen and although a supporting role, this is brought to life excellently as Mark is brooding, antagonistic and arrogant. His Partner “Ray Nicolette” is expertly performed by Michael Keaton. Geeky, amiable, yet falling in love with Jackie, he is equally forceful in his ATF role. Keaton is excellent if a little underused. However, the role was expanded further, but in a different film entirely, as he reprised this role a year later in Out of Sight by Steven Soderbergh.
As the title suggests, this is Jackie Brown’s film and Pam Grier carries the film, propels the film and is the heartbeat throughout. The screenplay role was written explicitly for her and her sublime performance justifies this. The shared scenes with Robert Forster are a joy and backed by some of the best music choices in the film. Again, a Tarantino film spills over with great musical choices, but their shared scenes are backed by “Natural High” by Bloodstone and the fantastic “Didn’t I Blow Your Mind This Time” by The Delfonics.
A crime caper, yes. But so, so much more. Subtle and flamboyant, brash and tender. Sexual tensions running high throughout and when released (once) it’s a black comedic highlight of the film! Who’s playing who? Who’s falling in love with who? The follow up film to Pulp Fiction was always going to be difficult, nigh on impossible. Not as good as Pulp Fiction, but this fan’s favourite.
A triumph and a joy.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film and television articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
