The middle-aged stewardess Jackie Brown smuggles money from Mexico to Los Angeles for the arms dealer Ordell Robbie. When she gets caught by the agents Ray Nicolet 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 56-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 complicated confidence game with Max to steal half a million dollars from Ordell. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Quentin Tarantino met Robert Forster in a restaurant and handed him the script, saying "You're going to do this, and that's all there is to it". Forster was naturally thrilled, having had a major career slump. This film saw him come back in a big way, even landing an Oscar nomination. See more »
The back of Jackie's hair when she walks away from the cashier in the mall as she is frantically looking for Ray is very curly and neat but a few seconds later it isn't curly and is frizzy. 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.
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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 »
Contrary to Pulp Fiction which had a very unusual editing and flashy situations, Jackie Brown focuses more on characters that are basically humans with very focused problems, for instance getting older which is an eminent theme tackled in the film. No one's evil in all this. They all have interestingly real personalities and I felt strangely comfortable watching them talk, eat, kill and argue with each other. Tarantino is an excellent storyteller and I wish I could write dialogues as interesting as his. The film flows with a slower pace than Pulp, with all it's many streched takes and lenghty scenes, but by doing so leaves us more time to grasp the characters with all their differences. A more mature Tarantino. Still loving what he does. And he said it himself before the film came out: "This one is at a lower volume then 'Pulp.' It's not an epic, it's not an opera. It's a character study."
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