In Detroit, Clarence Worley goes to the movie theater alone on the day of his birthday to watch some movies. The gorgeous Alabama Whitman accidentally drops her popcorn on Clarence and they watch the movie together. Then they eat pieces of pie and they have one night stand, so Clarence eats more pie of another kind. In the morning, Alabama confesses that she is a call-girl hired to spend the night with him, but she has fallen in love with him. In the morning they get married and Clarence goes to the club where she worked to bring her some clothes. However, her pimp Drexl Spivey and his partner beat up Clarence and he reacts by killing them both. Clarence asks for Alabama's suitcase with her clothes and the other girls mistakenly give another one with cocaine. When Clarence discovers the mistake, he decides to travel with Alabama to the house of his friend, the aspiring actor Dick Ritchie, to sell the drug and travel to Mexico. He visits his father Clifford Worley and gives his address... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The scene on the roller coaster was filmed over two days. Michael Rapaport unfortunately has a fear of roller coasters, and suffers from acute motion sickness, facts which no one knew during the first day's filming. By the second day, the crew was prepared for this, and they gave him something to calm his nerves. As a result, one can easily tell from cut to cut on which day a particular moment was filmed by watching his face in the background. His expression goes back and forth from apprehensive and nauseous (the first day) to bland and oblivious of his surroundings (the second day). See more »
When Nicky Dimes and Nicholson are in talking to their boss, Dimes says something like "So they brought the suspect to me and Nicholson and we go to work on him". Sizemore interjects "...Nicholson and I". Neither is correct, which would seem to be the ironic point. The correct form would be, "So they brought the suspect to Nicholson and me..." See more »
In Jailhouse Rock he was everything rockabilly's about. I mean, he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothing except rockin' and rollin', living fast, dying young and leaving a good-looking corpse.
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Enough memorable scenes and talented stars to fuel a half a dozen blockbusters.
With at least 12 `starring actors' in character and supporting rolls, half of them legends or mega stars; this Tarantino tale defies a short review. The different levels on which this movie works are impressive. As a love story we begin to believe that the quirky `loser' couple is unconditionally bound together. As a pseudo `film noir' we begin to care about the fate of the central characters. In the suspense/thriller/crime drama mode there are plenty twists and turns to push us to the edge and pull us back just in time. The action scenes are deliciously violent and unlike most other films, this one gives us pinches of humor sprinkled in amidst the mayhem. Even `the King' alter ego is woven in credibly enough to improve our understanding of the Clarence Worley character.
The plot, albeit original, fresh and mesmerizing, seems somehow secondary to the characters and the characterizations. Any of several rolls could have been performed over the top by what seemed to be an ensemble cast. But director Scott lets the talent go just far enough. Even the remainder of the supporting cast is wonderful; Saul Rubinek in particular does a terrific job as the puffed-up/ego-feeding movie producer. Hollywood missed giving this movie and its cast proper recognition.
With enough memorable scenes and talented stars to fuel a half a dozen blockbusters, True Romance gives us the `best bang for our buck' in years. The Walken/Hopper scene alone is worth the `price of admission' not to mention the Gandolfini/Arquette and Slater/Oldman match ups. This can only be described as a `wonderfully wicked movie' for its tantalizing content, smart dialog and toothsome violence.
Put the kiddies to bed, be prepared for rough language, adult themes and graphic violence and enjoy a `not for the faint of heart' masterpiece.
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