This Streaming Crime Thriller Is Truly Quentin Tarantino’s Most Underrated Picture
Quentin Tarantino is batting 1000. He hasn’t made a bad movie yet. So, the bar is set particularly high when it comes to discussing his output. When people talk about the director’s filmography, they’re likely to touch on Pulp Fiction, Reservoir Dogs, and Once Upon a Time in Hollywood. Rightfully so. All three are great films. But so is Jackie Brown. Yet, people rarely speak to its efficacy. It’s as if this 1997 effort gets lost in the shuffle.
Jackie Brown stands as a successful adaptation of the novel on which it is based (Rum Punch by Elmore Leonard) and features what might just be the best performance of Pam Grier’s career. Not to mention, the iconic actress is supported by an ensemble cast of A-listers at the top of their game. The film riffs on the exploitation pictures of the ‘70s, aping the look and feel of those flicks, but Tarantino brings depth to the proceedings with well-developed characters and a twisty narrative that builds to a brilliantly executed twist ending.
The setup for Jackie Brown goes like this:
Jackie Brown (Grier) is a flight attendant who supplements her income by doing odd jobs for gunrunner Ordell (Samuel L. Jackson). When she’s caught by the authorities, Jackie finds herself in a tough spot. If she turns informant, her life is in danger. If she refuses to cooperate with law enforcement, she’s surely facing prison time. So, Jackie crafts a plan that ensures she gets exactly what she needs and stays out of custody. Bravo, Jackie. Bravo.
In adapting the novel for the screen, Tarantino relocates the action from Florida, where the novel is set, to California. That subtle change makes a world of difference. It adds a gritty quality to the film that would’ve been harder to achieve were the proceedings set in The Sunshine State. Setting the action in and around Compton gives the film a harder edge. Tarantino pairs that with the kind of edgy dialogue and fast-talking characters for which his cinematic output is well-known.
Tarantino crafts the film as a loving tribute to the exploitation cinema of the ‘70s.
Several of the characters look, act, dress, and speak like they walked out of a grindhouse picture from the height of that era. Samuel L. Jackson’s Ordell is a prime example of that. His mannerisms, speech patterns, and style are reminiscent of the Blaxploitation efforts of years past.
The music and title sequence font also add to the retro sensibility of the presentation. Perhaps most obviously, Pam Grier, who plays the titular character, pays homage to one of her most iconic screen roles by sharing a surname with the legendary Foxy Brown. Additionally, we have exploitation mainstay Sid Haig (Spider Baby) popping up in a cameo as a criminal court judge.
In true Tarantino style, the director takes certain aesthetic influences from films that inspired his cinematic journey and then imbues the picture with his signature style. The narrative itself has nearly nothing in common with films like Foxy Brown. Rather than avenging a loved one and seeking vigilante justice, we have a woman using her intellect to stay one step ahead of those who wish her harm.
Although the narrative of Jackie Brown has little in common with the storyline of Foxy Brown, there are certain similarities between the two characters. Grier plays each as effortlessly cool. In both pictures, she’s rarely at a loss for words and keeps her composure under extreme pressure. Moreover, she’s a powerful woman who can hold her own against men that wish her harm. Jackie is resourceful and solution-oriented, making her a compelling lead, indeed.
Tarantino adds a level of intensity to the proceedings by establishing exactly how Ordell deals with loose ends like Jackie in the film’s first act. He lures one of his underlings at a high risk of turning state’s evidence into a false sense of safety and then coldly dispenses with him. After witnessing that, we know what’s at stake for the titular character. That means she is behind the 8 ball from the jump. Because Jackie is an engaging and effectively developed lead, we have cause to care about her well-being. Watching her use her understanding of human nature and ability to think on her feet to get out of one jam after another is riveting and harrowing at the same time. It’s compelling to watch her outsmart nearly everyone with whom she comes into contact.
The film exists at the intersection of arthouse and grindhouse.
Tarantino elevates the picture above lowbrow exploitation fare by serving fleshed-out characters with meaningful interpersonal relationships. The dynamic between Jackie and Max (Robert Forster) is especially important. His undying devotion to her is charming and gives the viewer good reason to care deeply for both of them.
Speaking of the characters at the heart of the story, I appreciate that Tarantino had the vision to cast some of the key players against type. Bridget Fonda (who has since retired from acting) gets the chance to branch out a bit. I’ve not historically seen her as an actor with great range. But she gets to do something decidedly different here. She seems to be having a great time playing an ambition-less stoner with a soft spot for career criminals. Robert De Niro is another core character who gets to break from expectations. He is plenty versatile, mind you. But his bad guy roles are usually self-assured and powerful. Here, playing Louis, he’s meek, unsure of himself, and reserved. It’s as if he’s ever so slightly uncomfortable in his own skin. De Niro and Fonda play off of one another nicely and have plenty of quality banter.
Some of that banter is properly hilarious. There are moments of dark comedy that are undeniably funny, but some of the setups are so macabre that it almost feels wrong to laugh. Tarantino peppers those scenes between more serious exchanges, giving us an occasional reprieve from the intensity of the narrative.
Despite everything the film has going for it, some see Jackie Brown as one of Tarantino’s lesser efforts. I couldn’t disagree more. The cast, the performances, the narrative twists, and the moments of black comedy make the picture a bright spot in the Oscar-winning director’s filmography and a feature you shouldn’t sleep on. If you’re keen to give the film a spin, you can find it streaming on The Roku Channel as of the drafting of this post.
Categorized:Editorials
