Critique: Film> Reviews.

While at times I have found Quentin Tarantino's nonlinear storytelling quite frustrating, I do tend to enjoy his movies. Jackie Brown, his third as a director, may not seem like the most stylistic of his works within the first sitting -- especially when it has Pulp Fiction to contend with -- but it's a film that will grow on you each time you watch it. The leisurely pace is one of the main reasons why I like it so much.

So, what is Jackie Brown about? Well, the title character (Pam Grier) works as a flight attendant for a small Mexican airline, who also smuggles illicit arms money into America for gun merchant Ordell Robbie (Samuel L. Jackson). The FEDS soon bust Jackie and attempt to cut a deal with her to get to her boss. Feeling threatened by the law and Ordell, she hires an honest bail-bondsman, Max Cherry (Robert Forster), and attempts to work up a scheme so that no one will mess with her anymore.

The plot may sound conventional, but much of the film's enjoyability stems from the interactions between the characters. Based on the novel Rum Punch by Elmore Leonard, the dialogue is quirky, intelligent and really quite hilarious in places. The characters appear authentic: when they interact with one another you really begin to feel the chemistry between them. Conversation is much more than just a plot device: the seemingly-spontaneous reactions help develop the conflicting identities of the characters. Even if they just sat on the sofa, doing nothing in particular, you remember the moments they have together because the dialogue, and even the body language, is so compelling.

One of my favourite scenes involves Jackson and Robert De Niro watching a "Chicks with Guns" commercial on TV, and discussing the influence of the media and guns on crime in America. Well, I say discuss, but it is actually Jackson that does most of the talking about how everyone wants to be a killer just because they saw it in the movies. De Niro just sits here, quietly nodding in response to what Jackson is saying, but part of the fun is depicting his personality from his physical reactions. During the commercial, he notices Ordell's blonde "associate" resting her toes on the rim of his glass on the coffee table, quickly begins to feel agitated, and sits up to move it. Tarantino wants you to pay attention to little things like this in the picture. The detail really is quite intriguing.

Of course, the writing wouldn't shine through without some good performances from the film's actors. Jackie Brown boasts not only an all-star cast, but an all-star cast with some strong performances.

Pam Grier is the main attraction as the title character: she is prominent both in beauty and mind; an independent, black woman plotting to deceive everybody. Robert Forster is subtle, yet incredibly likable, as the bondsman and Jackie's love interest (he received an Academy Award nomination for Best Supporting Actor). Jackson is hilarious in his neo-blackploitation mode, saying "nigga" and "motherfucker" at every opportunity; De Niro, as Louis the ex-con sidekick, says very little as I've said, but you know he could burst into a fit of rage at any moment. There are also notable supporting performances from Bridget Fonda, who is quite charming as the clueless, blonde sidekick, who gets high and watches TV all day; Michael Keaton is the dodgy ATF agent; and Chris Tucker is crack-head Beaumont Livingston, one of Ordell's co-workers.

Comparisons with Pulp Fiction are inevitable and may not always benefit Jackie Brown's reputation, but the latter feels like the most mature film of the two. Violence and humour is still a key feature, but not to Tarantino's usual extent, which may disappoint some of his hardcore followers. To me, however, his work feels more intelligent and a lot more meaningful here; the excellent R&B and Soul soundtrack is also a strong contribution to the laid-back feel of the whole movie.

If I had to choose, I'd pick this as my favourite Tarantino movie to date.

(C) Andy Carrington, 2009.