In Detroit, loner Clarence marries a call girl named Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine, the mob, track them down and try to reclaim it.
The middle age stewardess Jackie Brown smuggles money from Mexico to Los Angeles for the arms dealer Ordell Robbie. When she gets caught by the agents Ray Nicolette and Mark Dargus with ten thousand dollars and cocaine in her purse, they propose a deal to her to help them to arrest Ordell in exchange of her freedom. Meanwhile Ordell asks the fifty-six year-old Max Cherry, who runs a bail bond business, to release Jackie Brown with the intention of eliminating her. Jackie suspects of Ordell's intention and plots a complicate confidence game with Max to steal half a million dollar from Ordell. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
While putting the money in her bag in the airplane
bathroom, Jackie drops numerous items on the floor. She doesn't pick them up, yet when the camera goes again to an overhead shot, the items on the floor are gone. See more »
Girl at Security Gate:
Flight 710 to Cabo San Lucas, now boarding Gate 103, first class only. Flight 710, Cabo San Lucas, now boarding Gate 103. First class only.
Buenos dias. Welcome aboard. Welcome aboard.
See more »
The menu/function/default voice (example: 'you have no new messages') on the telephone answering machine in Jackie Brown's bedroom is Quentin's. See more »
The Lions and the Cucumber
Written by Manfred Hübler, Sigi Schwab (as Siegfried Schwab)
Performed by The Vampire Sound Incorporation
Courtesy of Crippled Dick Hot Wax!/Motel Records
Taken from the Soundtrack LP "Vampyros Lesbos - The Sexadelic Dance Party" (1996)
(Crippled Dick Hot Wax!/Motel Records) See more »
Quentin Tarantino is clearly finding it difficult to follow the phenomenal success of "Reservoir Dogs" and "Pulp Fiction", which made him the hottest writer-director of his generation. In the six years since then this is the only time that he has returned to the directors chair. "Jackie Brown" - his "difficult third film" - seems to be his response to criticism of his first two films that he could only make movies about other movies, but not real life. He cleverly anticipates the backlash by adapting a tightly plotted, character driven Elmore Leonard novel, still set in his familiar world of LA low-lives, but keeping to a minimum his trademark comic-book violence and pop-culture references, while emphasising the novels more mature themes - such as ageing and the feeling of time running out for the middle-aged characters. The result is a slick, interesting, if slightly draggy thriller, which ultimately lacks the freshness and audaciousness of those earlier films.
Tarantino still has his maverick streak though, as displayed in his trusting of Pam Grier to carry the entire movie. The casting of a middle-aged black actress with no box-office clout in the lead role can't have been easy in an industry notorious for it's scant regard for actresses after they reach 30. You can bet that the studios would have at least insisted on the safety of a Sharon Stone or a Demi Moore. But Tarantino, as he did when casting Travolta, stuck to his gut-instinct, and once again it proved an inspired choice. Grier, bringing with her the memories of her 70's blackploitation movies, gives a convincingly tough, wise and sympathetic performance.
Actors love to work with Tarantino because the roles he gives them will be invariably jucier than usual. That is once again the case here, although the casting isn't quite as inspired as it was in "Dogs" or "Pulp" (or "True Romance"). Samuel L. Jackson is reliably good - if hardly stretched - as an unscrupulous hustler who is not as smart as he thinks he is, and Bridget Fonda has fun as his conniving beach babe girlfriend. Robert Forster jumps at the chance to play a role with depth after years in made-for-tv hell. Robert De Niro though, despite providing some amusing moments, is disappointingly wasted as Jackson's dim-witted partner.
At times this feels like just another thriller, but every now and then Tarantino reminds you what all the fuss was about. Jackson's brutal (off-screen) dispatching of Chris Tucker in the boot of a car, as the camera slowly cranes up into the sky, is masterfully conceived and a scene, which is subtly built up to, involving a teasing Fonda and a p*****-off De Niro is as unexpected and as shocking as anything Tarantino has done before. By refusing to make a Pulp Fiction 2, Tarantino may have missed out on some easy money, but this film has enough to suggest that he will be more than just a flash in the pan.
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