Directed by Quentin Tarantino
Line that stays with me: “I didn't know you liked The Delfonics?”
Essay Warning: There
are no spoilers or story details. I want to offer the emotion that a film can
access within us. Plus I think the best way to watch a film is by not knowing
anything about it. Just Go In…So if you haven’t watched this film yet please
don’t read this essay. Read it afterwards so we can enjoy the “feeling”
together.
Quentin Tarantino has a great name. It sounds very special; it is as if he has
lived up to the destiny set before him in life. Tarantino, the writer-director
who made audiences all over the world once again care about great original work
from writer-directors. At the time Hollywood
desperately needed a facelift, Quentin Tarantino was the only man viewing past
the horizon. He brought with him, interweaving story lines (now overdone and
over cooked in so many movies), and a love for genre films unlike any director
before him except maybe Howard Hawks. But more than anything, he single handily
made movies cool again. Quentin Tarantino, will go down as the coolest
motherfucking director in the world and, his films will always prove this no
matter how much time passes. His desire to bring so many great essences of
cool, exciting cinema that he treasures to the big screen his way is beyond
inspiring. By now you’ve heard or read of his classic rags to riches story that
inspired millions of video clerks/writer-directors to take a Hollywood
dive. That was so long ago, it is hard
to explain how he completely blew film lovers out of their minds. The window flew
open and there it was fresh air. First, Reservoir Dogs, the tease, that always
feels grander than it actually is. What struck me was the writing, the
language, the conversations that could shift from “funny as hell” to -” damn
that’s some good dialog”, it just sounds right and cool. Pulp Fiction, blew the
house down and gave Tarantino the keys to the city. People didn’t know how the
hell he was going to top that classic. Quentin Tarantino, being the genius that
he is, didn’t even try. That sort of magic only works once and he knew the only
thing you can really do in that situation is keep growing. You have to follow
your artistic instincts, trust them and believe wherever it leads you; it will
surely be the most honest personal expression. “Jackie Brown” feels like that
to me, a director expanding his skills. He is not trying to outdo himself, he
wants to showcase cinematic ideas he loves, and show the world how special a film
like “Jackie Brown” can be. I mean come on a $25 million genre mixing film cocktail
of Crime drama, Blaxploitation (Only a hint really), and film noir starting Pam
Grier, Robert Forester, and Robert DeNiro and Michael Keaton? It is a kid in a
candy store creation and one of the greatest feelings one can experience watching
films, it is catching the energy of watching someone’s dreams come true.
I remember the hype for “Jackie Brown” was insane. Very
similar to Nirvana releasing “In Utero”, it was a major artistic moment to
witness. Is this indie poster boy 100 million dollars grossing director going
to strike gold again or strike out? When I first saw it, I wanted it to do well
in a major way especially for Robert Foster but I knew in my gut that this is
not the film “Pulp Fanatics” wanted, at least not yet. “Jackie Brown” is a very
slow paced film, it has a trance quality. Quentin Tarantino, set it up this way
in order to create an amazing tempo. The very first shot of the film is a long
shot, and the first scene of the movie is like ten minutes of people watching
TV. Knowing how to set a tempo is beyond important for filmmakers, it is a make
or break quality. Tarantino set a perfect nice and slow tempo; a movie filled
with so many conversations, pot smoking, and characters enjoying “Screwdrivers”
requires the tempo Tarantino chose in order for the film to work. Tarantino,
loves making interesting characters come to life, I think he is obsessed by it.
With “Jackie Brown” he got to really make these characters live and breathe
like very few films have. So many long takes in this film, various scenes that
are long in length, but burst with sincere human observation and subtle
tenderness. People did not go crazy for his new film in 1997, many critics were
disappointed and audiences did not come out in droves. Now, “Jackie Brown” is
the film that holds Tarantino’s beautiful filmography together. You can point
to it and say yes he is that good, in a class of his own.
I can understand how after watching every frame of “Pulp
Fiction” and always being left wanting more, how “Jackie Brown” could
disappoint upon first viewing. “Jackie Brown” isn’t giving us any sermons, it
wants you to hangout. The film wants you to take it easy, relax, smoke one or
drink something and enjoy listening to these interesting people speak. There
are not many bursts of gunfire and when something electrifying happens it’s
usually attributed to an actor’s facial expression. Tarantino fell in love with
these characters from Elermore Leonard’s book and every scene is a celebration
of like some long overdue wedding. He
believes the characters will make the film work and he was right. It is very
similar to the approach Howard Hawks had with the classic John Wayne western
“Rio Bravo”. Howard Hawks wanted to make “Rio Bravo” feel like a Television
show, where you fall in love with the characters, and can’t wait to see what
happens the following week. From the very first scene we are forced to relax
and hang back. Samuel L. Jackson and Robert DeNiro watching some sexy strange
VHS (remember those things) called “Chicks who love guns” while Bridget Fonda’s
legs toy with us. We are in that room; this isn’t a plot set-up in the classic
Hollywood sense. Tarantino wants us to enjoy all the nuances, human comedy and vibrant
flavors on display in that room. Simple moments that most filmmakers do not
even think about, shine in “Jackie Brown”. Tarantino’s amazing gift in writing
dialog creates classic moments. One of my favorite moments is Samuel L. Jackson
saying “Girl, don’t make me put my foot in your ass”. The film is very funny,
but it is the sort of comedy built from “You had to be there moments” which is
very hard to do. This film celebrates the act of catching lightning in a bottle
and the serene pleasure of great conversations.
After multiple viewings of “Jackie Brown” you begin to realize
that the plot is the least interesting thing in the film. Do not get me wrong,
the plot is perfect. Perfect plot in the sense that it offers its all-star cast
keen moments to deliver their special brand of magic. You got Pam Grier, acting
tough, sexy without ever losing her place as the heart of the film. Samuel L.
Jackson doing what he does best which is delivering Tarantino dialog with
effortless ease but with striking conviction. Robert Forster, in one of the few
performances I will ever call perfect. Robert Forster as Max Cherry might be
the best testament of Tarantino’s brilliance. Such a smooth, warm-hearted sweet
performance that adds the perfect spice of romance the film needed to keep it
from becoming pointless. Robert DeNiro, in a very physical performance is quiet
throughout, but always bursting with intense body language. One of my favorite
shots is a pan to DeNiro near the end, which seems like the most perfect way to
use Robert DeNiro’s mug. Bridget Fonda, cracks me up as she claps with her legs keeping in tune to The
Grass Roots song “Midnight Confessions”.
Michael Keaton knows how to make a lasting impression just with his
impressive array of facial impressions. Michael Bowen has the most underrated
performance in this film, he kills every time he speaks, can’t think of a
better actor when it comes to “Asshole roles”.
The acting alone is worth every viewing. Is there more to “Jackie
Brown”? Maybe not, but who cares when the films intentions come across strongly
confident and the performances are perfect.
Yes, that’s why no Tarantino film has ever won Best Picture.
Tarantino is not focused on giving us life lessons of any sort; at least not in
some Clint Eastwood directed film type of way. He seems more interested in his
cinematic obsessions and the diverseness of life in general. Thank God for
that. We do not need more filmmakers giving us weak attempts of life advice in
an entertainment format. Yet, I can write a whole essay alone on the interesting
wisdom on display in “Jackie Brown”. From dealing with disappointment brought
upon by a life sprinkled with very few rewards to falling in love. I think
given Tarantino’s background he can relate with a story of a woman fighting to
reach a hard to obtain goal, a new place that once seemed very unattainable.
The scene with Pam Grier discussing how a life filled with no chance of better
days is scarier than any gun Ordell Robbie can point at her face. The fact that
you are free but you cannot live the life you desire. Which makes me wonder, if
Hollywood didn’t give him a chance where would Quentin Tarantino be right now?
He fought so hard for his moment of glory, and with this film I think some of that
knowledge about failure truly helped in making you feel for Jackie Brown. You
want her to escape, it might not be the right thing to do but you want her to
get away. That final shot of the film, Pam Grier’s face of fear and excitement
brought upon by her new life gets me every time. We are watching a woman driving
towards a whole new life after waiting decades for the chance. Imagine you woke
up tomorrow with all the money you need to not work anymore and time available
to discover, to live new experiences that were once denied to you. In that final
scene I know she’s happy but she looks so afraid, like she doesn’t know what to
do with herself, it is a beautiful moment. I know maybe she doesn’t deserve
that money (when you think about it she really doesn’t, it is kind of messed up
what she did) but it is always great to watch a character who’s gotten the
worst end of the stick finally get some retribution. So in that sense “Jackie
Brown” is a revenge movie like “Kill Bill” except it is a revenge movie on the
unfairness of life.
“Jackie Brown” showcases a very mature Quentin Tarantino
before the world asked for one. There
were no special tricks or special effects, but a writer/director who knows how
to write a script better than anyone else. He sat us down, put on a record,
gave us a cup of coffee, and spoke to us about life. Often making the audience
laugh in a very oblique way, which can only be attributed to the dark humor
life can’t help but throw our way. More than anything I think Tarantino brought
back the lost art of conversation to the movies. Dialog was something Hollywood was great at.
Watch TCM once in a while and you will hear what I mean. After movies like
“Jaws” and “Star Wars” Hollywood’s focus shifted from great storytelling to
trying to wow people with special effects and making as much money as possible.
Their foolproof plan worked for a good while but by the early 90’s the so
called “Blockbusters” were getting stale. Along comes a man with a plan. A
director who wanted to change how films are experienced and by borrowing from the
best elements of great novels and trusting his cinematic taste, he did just
that. He made films that can go anywhere and even used time to offer different
perspective of characters we love a la Akira Kurosawa’s “Rashomon”. He arrived
with the knowledge that you can only receive by studying, reading, learning,
and appreciating everything life throws your way for you know it might lead to
an experience that will only make your lifelong work stronger. The art of
conversation is beyond important, and it is not something every director can
do. Make you sit and listen to people doing nothing but talking. That is a rare
gift and in “Jackie Brown” Quentin Tarantino achieves this at a grand level
with tremendous dexterity. He spoke about life, love, desperation,
underhandedness and the strange comedy of cruelness all within the cool
confines of a heist movie/crime drama. “Jackie Brown” doesn’t appear to be “deep”
(Whatever the hell that means!), but that’s because its writer/director
understands failure. He too found himself in a hole and decided like Jackie
Brown to keep digging in order to get to the other side. Is that deep enough
for ya?
ABOUT RCM:
RUTZ Classic Movies is dedicated on writing film essays for films that
in Rutz's opinion, have not gotten the credit they deserve.
Next Essay: Russell Mulcahy's "Highlander"
-movie-photos.jpg)
