Jackie Brown (1997)
Grade: A-
Cast: Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Robert DeNiro, Michael Keaton, Chris Tucker
Director: Quentin Tarantino
Rated R for strong language, drug use, some violence, and sexuality

“Pulp Fiction”, which may be the best movie of the 1990s, has been compared to countless films. There are so many brilliant things about it. The ensemble cast shines, the script and direction sizzle with intensity and wit, and the soundtrack is one of the five best ever. It was so good that some said there was possibility for a sequel. But, was there? A handful of the essential characters die, and there isn’t a possible story that could make a sequel to “Pulp Fiction” very good. So writer/director/supporting actor Quentin Tarantino opted to make a totally different follow-up to it instead. I’m glad, because what came out is the explosively entertaining “Jackie Brown”. “Pulp Fiction 2” would have been a sell out.

Of course, it’s not totally different from “Pulp Fiction”. It’s got many of the same characteristics (that will most likely, if QT ever releases another film, become Tarantino Trademarks): non-stop profanity, drugs, and violence, quirky dialogue, an obsession with women’s feet (and they’re Bridget Fonda’s, so I’m not complaining), 70s songs on the soundtrack, references to blaxploitation films, and a great cast including Samuel L. Jackson. But the general tone of the film as well as the way it presents its characters is original. It’s flawed—while I consider “Pulp Fiction” to be close to flawless—but its appeal cannot go unrecognized.

Jackson plays a bad mofo by the name of Ordell. He is a gun dealer, and the money he makes from his dealing is smuggled by a middle-aged flight attendant named Jackie Brown (Pam Grier). Jackie is caught by Ray Nicolette (Michael Keaton), a Fed who decides to arrest Ordell by way of Jackie ratting him out. If Jackie reveals Ordell’s name and location, she will risk getting killed by Ordell, but escape jail time. If she doesn’t tell, then she will land in jail. Ordell still has some money coming to him, and has the help of a buddy and just-released con named Louis (Robert DeNiro) and a permanently stoned sexpot named Melanie (Bridget Fonda) in getting it. But, then Jackie starts hatching a plan with her infatuated bail bondsman Max Cherry (Academy Award nominee Robert Forster) to get away scot-free from the law, and steal the money that Ordell has coming to him. To describe anything else in the plot is to give away the twists. Come to think of it, they aren’t twists—just more obvious clues from Tarantino as to whom Jackie’s scamming and how.

“Jackie Brown” is, no question about it, a well-done film. Tarantino’s distinctive style is obviously in place, but it is a film to be judged on its own. That said, it has a few flaws. The soundtrack is slightly disappointing, and the plot drags near the beginning. If Tarantino isn’t careful, his dialogue is going to become a cliché. Some of it is wonderfully ironic and all of it is above par, but (and maybe it’s his repeat casting of Samuel L. Jackson as the badass that’s making me weary, no matter how electrifying a performer Jackson is) the off-color, clever dialogue is becoming a little too “clever” for its own good. Hopefully with 2003’s “Kill Bill” he’ll be more innovative and less repetitive. He has the potential. Still, despite those occasionally (very occasionally) corny dialogue spots, “Jackie Brown” has one of 1997’s best scripts.

Tarantino has an undeniable gift for casting. It’s amazing how perfect some of these actors are for their roles (I happen to think Uma Thurman was born to play “Pulp”’s Mia Wallace). Pam Grier, as the titular character, gives off a powerful aura; it’s as if she owns every scene she’s in. She’s so convincing scheming everyone else that we can’t help but be entranced by her character, and that’s basically a thespian’s job. Jackson isn’t anywhere near his Bible-quoting hit man Jules from “Pulp Fiction”, but he makes Ordell smooth and slick. Jackie is the heroine, but Jackson sometimes makes us root for Ordell, too. Robert Forster deserved his Oscar nomination playing Max. I’m not very familiar with Forster’s other work, but his stuff here is wonderful. The film doesn’t need a sex scene, or even a passionate kiss (until the end) between the two for us to know there’s sexual tension; it’s subtle enough to let the actors silently do the work and tell us how they feel. Throughout the film, Forster does wonders communicating his unspoken love through his awestruck eyes. We aren’t in love with Jackie Brown, but Forster convinces us that we should be. Robert DeNiro in no way gives one of his greatest performances in this film. His Louis can’t even compare to, say, Travis Bickle or Jake LaMotta. But he is pretty amusing acting stupid. Bridget Fonda, as the perpetually high Melanie, gives one of her great late 90s performances (the other notable one is in “A Simple Plan”). She plays her character so well that she deserves some sort of recognition. Melanie and Louis have a moment alone, interrupted by a sudden interrogative, all leading to the film’s biggest laugh. Michael Keaton isn’t given all that much to do, but about ¾ through the film, he does have a good scene. None of the actors can be accused of a weak performance.

Despite its flaws and because of its many virtues, “Jackie Brown” is a worthy film to include on Quentin Tarantino’s resume. The 2 ½ hour+ film gives us the time to care about our characters and establish their emotions through witty dialogue exchanges and virtuoso acting. It’s no ‘Pulp Fiction”, but I was so entertained that it didn’t have to be.


-Alex, September 2001