JACKIE BROWN

US, 1997, 148 minutes, Colour
Pam Grier, Samuel L. Jackson, Robert de Niro, Robert Forster, Michael Keaton, Bridget Fonda, Chris Rock
Directed by Quentin Tarantino

The name of Quentin Tarantino will always be associated with the phrase, Pulp Fiction. His 1994 movie won the Palme D'Or at Cannes, an endorsement of his kind of movie-making by Europeans. Pulp Fiction lost out in the Oscars to Forrest Gump for Best Film, but Tarantino did win the award for Best Original Screenplay. A rash of tough crime thrillers followed and his name was used to describe this kind of hardboiled gangster movie. Tarantino had made his initial mark with the robbery genre in Reservoir Dogs (inspired by Tsui Hark's 1987 Hong Kong thriller, City on Fire). The other quality in Tarantino's movies is the clever and flip-witty dialogue, much Amsterdam or Madonna's songs.

Audiences must have been wondering whether Tarantino could follow Reservoir Dogs and Pulp Fiction with another success. He did with Jackie Brown, but it took almost four years. It is much less thematically and explicitly violent than its predecessors (though very heavy on language). This time he has adapted a novel by a master of classy pulp fiction, 'Rum Punch' by Elmore Leonard. He has also assembled a great cast (including Pam Grier and Oscar-nominated Robert Forster who are throwbacks to the crime movies of the 70s but whose careers were revived by Jackie Brown).

Jackie Brown is more plot and character-driven and more linear than its predecessors, although fans will be pleased that the final robbery-scam is shown from three points of view. This is a more intelligent, more settled Tarantino, although the ambiguous world of crime, theft and violence is still disturbing. His next movie, Kill Bill, balletic martial arts in two 'volumes' was released six years after Jackie Brown in 2003. The first 'volume' was billed as 'the fourth film by Quentin Tarantino, conveniently forgetting his contribution to the portmanteau movie, Four Rooms.

1. The films of Quentin Tarantino? His skill as a writer, director? His interest in crime stories, the law, justice, the individual, the system? The depiction of violence?

2. The work of Elmore Leonard, the attraction for Quentin Tarantino, characters, interactions, crime?

3. The California locations, airports, shopping malls, apartments, police precincts? An authentic atmosphere?
4. The range of songs throughout the film, the relationship of the lyrics to each of the characters?

5. The strength of the cast, their being icons of the cinema?

6. The opening, the introduction to Jackie Brown, Pam Greer's screen presence, dignity, her uniform, her walk? The long walk, her being apprehended, searched? Her responses, knowing that she had been informed on? Her going to jail?

7. Samuel L. Jackson as Ordell, his presence, style, language, hyped-up presentation? The relationship with Louis? Robert de Niro playing second fiddle to Samuel L. Jackson? Bridget Fonda and her presence? Their past relationship, the tension, Ordell and his ranting about the busts going wrong, not getting his money? Drug dealing, business, anger? His informers? His going to his contact, getting him out of the house, the argument, the bail bond, getting him out of jail? Shooting him? His going to Max, the approach about the bail bonds, Max and his being astute and wary? Ordell as a violent man?

8. Max, his age and experience, his work in bail bonding? His assistant and his ability to get information? His suspicions of Ordell, the diplomacy about the bail, the money? Ordell's return and his wanting to bail out Jackie Brown, the transfer of the money from the dead criminal?

9. Jackie Brown, her age, background? Her experience, her relationship with Ordell and bringing the money in her luggage? Prison, her being bailed out, the meeting with Max, her interest in him, attraction? Ordell and the discussions, about the informant? Her decision to get the better of Ordell?

10. Jackie Brown and her plan, the interviews with the police, their pressuring her? Her beginning to rely on Max? Her meeting the courier, preparation for the rehearsal? The rehearsal itself and picking up the money?

11. The relationship between Ordell and Louis, Louis and the sex relationship with Ordell's girl? Ordell, his anger, suspicions of Jackie Brown, yet wanting his money? Angry?

12. The plan put into execution? The three different views of the action? The differing perspectives? Jackie Brown and her skill in the plan, going to the shop, the issue of the dress, the bag? The point of view of Louis, keeping surveillance, his suspicions when he saw Max, with the girlfriend, her getting the bag, her continued talking in the car, his shooting her? Max's point of view, watching the situation, the ploy about leaving the bag in the changing room, his recovering the money?

13. Ordell and his reaction, his angers, suspicions, wanting to kill Jackie Brown? The confrontation with Louis, anger with him, killing him?

14. The picture of the police, their work, suspicions, interrogations of Jackie Brown, watching Ordell? Their agreeing to the set-up? Their being tricked, their being witnesses to Jackie's killing of Ordell?

15. Jackie and her fear, the phone calls, the set-up for Ordell to come to the bail office, her confrontation, shooting him? Her plea of self-defence?

16. The amoral ending, Jackie Brown and the money, her wanting to share it with Max? His decision not to take any of the money, to continue with his work?

17. The film as a crime drama, a heist expertly executed, the violence and the language, the amoral point of view of all the characters?