“Hell yeah! To her dumb country ass, Compton is Hollywood; closest she's ever been anyway.”
Great Horny Toads! Has it actually been five years since the release of “Jackie Brown”? Wellsir, Moriarty shared the script for “Kill Bill” and I’m here to tell you it’ll be worth the wait.
In the meantime, guess we got us some DVDs to order!! Yeeeeee-haaaaaa!!
“Dickie Greenleaf” writes:
In the meantime, guess we got us some DVDs to order!! Yeeeeee-haaaaaa!!
“Dickie Greenleaf” writes:
Harry, Moriarty and all,
I was pleasantly surprised to wake one morning this week to find that the postman had kindly left two of the most anticipated DVDs of the year in my mailbox. As I'm sure most of AICN's readers are aware, Quentin Tarantino's PULP FICTION and JACKIE BROWN arrive on long-awaited special edition 2-disc sets on August 20, and since I have been unable to locate reviews of either online, I thought you may be interested to know if they live up to expectations.
This is also an interesting moment in time to sit down and watch these two films again. It is five years since the release of JACKIE BROWN and with KILL BILL currently in production, now would appear to be a perfect occasion to re-evaluate these seminal films. I have purposely avoided watching either when broadcast on television, and refrained from viewing previous video copies ever since I heard they had gone into production at Buena Vista last year in order to preserve the experience of them with as much freshness as one can come to two favourites.
Pulp Fiction
Whatever your opinion of the film, there is little doubt that PULP FICTION was one of the most significant movies of the last decade. It's influence on both the medium and pop culture was as great as any of its era, and created a feverish public interest in a director unprecedented, and indeed unrivalled, since the days of Hitchcock. With the one-two punch of RESERVOIR DOGS two years previous along with the iconoclastic PULP, Tarantino had become a rock star. He hadn't merely tapped into the current zeitgeist, he owned it. It is not difficult to understand why. After all, audiences were still largely disillusioned with the corporate takeover of American cinema in the 80s, and nobody had emerged on the scene with quite the same impact since Scorsese unleashed MEAN STREETS and TAXI DRIVER in the mid-70s. PULP is the kind of cool work immediately embraced by drooling fan boys and the sort of inventive signature piece welcomed by the establishment's auteurist critics. Plus, the fact that it whipped up such a preverbial storm in the mass media over its controversial presentation of drugs, sex and violence didn't harm either.
But eight years on, and now everybody is well versed in the film's thrills and shocks, the celebrated narrative maze and the directorial pyrotechnics, why does one enjoy revisiting the picture so much?
Simply put, Tarantino's abilities stretch far beyond his explosive reputation. When one gets past the sheer excitement of the film's style and daring that captured so many imaginations, one can appreciate just what an accomplished and fully realised piece of work it is. Despite the overlapping structure, each character has a roundly developed arc that compliments the other. Consider the parallels between the central male figures; whilst Jules (Samuel L. Jackson) is most commonly associated and overtly depicted as the film's chief redemptive conscience as he sets about saving the souls of small time crooks Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) at the disquieting resolution (or is it the beginning?), both Vincent (John Travolta) and Butch (Bruce Willis) will find a similar (though still somewhat perverted) salvation before their journeys' end in their 'saving' of Mia (Uma Thurman) and Marcellus (Ving Rhames) repectively from the most hellish of situations. One may argue as to their motivations or if they even learned from the experience, but that might also be the point, and belies accusations of both the director's and the film's morality, or lack thereof. It is also particularly illuminating to consider just how efficiently Tarantino weaves in a (suitably quixotic) backstory for each of these characters, so when the credits finally roll, one can think back and realise just how well we got to know these wayward souls in such a relatively short space of time (remember that there is no one lead character who dominates proceedings).
Closer inspection also reveals one of the most distinctive and meticulous of photographic styles. The naturalistic approach of Tarantino's cinematographers (Andrzej Sekula on PULP and Guillermo Navarro on JACKIE) mean that it is easy to underrate a visual schemata every bit as skillfully deployed as contemporaries like Fincher and Soderbergh. Repeated viewings of PULP allow one to notice the specificity of the compositions (watch how Jules' interrogation of Brett (Frank Whaley) is covered or the precise framings of Vincent's and Mia's close-ups during their dinner date) or the expert single-shot sequences that track Vincent's path through Jack Rabbit Slim's (a homage to the way Scorsese shot Henry Hill's famous Copacabana entrance in GOODFELLAS?) or Butch's tentative walk to his vacated apartment to retrieve his precious gold watch. See also a masterful crane shot in JACKIE BROWN in which Ordell Robbie (Samuel L. Jackson again) packs Beaumont Livingston (Chris Tucker) into the trunk of his car under the guise of surprising some local hoods, drives down the road and around the corner, the camera rises up, and he gets out and nonchalantly shoots him. That many of these details go largely unnoticed is a testament to Tarantino's abilities not only as an aesthete, but a mature understanding of the mechanics of the medium often overlooked in favour of an overflowing knowledge of genre history. PULP FICTION was undoubtedly a major statement, probably even in conception, a calling card that would not soon be forgotten. But beyond the furore is a supremely crafted work of story and character that remains as purely entertaining as ever.
The first thing that hits you when you hold these DVDs in your hands is the frankly superb packaging that BV Home Entertainment have designed to take pride of place on your hallowed shelves. Anybody who owns New Line's Platinum Editions of P.T. Anderson's BOOGIE NIGHTS and MAGNOLIA (and if you don't, why not?) will know what to expect when I describe them here. Inside an elegant slip case you will find a nicely illustrated fold-out case featuring publicity stills and production photos. Sitting alongside the discs themselves you will find an impressive little 16-page booklet featuring articles and song listings for each of the films that make cool little keepsakes in addition to a Jack Rabbit Slim's replica menu with PULP and a fold-out blaxploitation style poster with JACKIE.
PULP is presented in pristine 2.35:1 anamorphic widescreen. Blacks are deep, flesh tones natural, and detail is crisp and clear at all times, so this is probably as good as the film has ever looked, whilst there is a choice of both DTS and DD 5.1 soundtracks. The major disappointment is that there are no commentaries on either, and I'm willing to bet that most would have been happy to sacrifice all other supplementary materials in favour of hearing QT provide scene-by-scene counterpoint, don't lament too hard as there is still plenty to enjoy here.
There are five deleted scenes, which will probably be familiar to owners of the laserdisc, featuring extensions of Vincent's initial visit to Lance's (Eric Stoltz) drug den, Butch's ride in the cab with Esmerelda (Angela Jones), Vincent and Jules' trip to Monster Joe's with The Wolf (Harvey Keitel), and the dinner date at Jack Rabbit Slim's. All of these are admittedly forgetable, and the best is easily an alternative introductory scene between Vincent and Mia in which she records him with a video camera, quizzing him on his stance on the world's most crucial topics (Are you a Beatles or an Elvis man?) Completists will no doubt welcome their inclusion.
An original documentary entitled THE FACTS is the only real disappointment on either disc. Running only 30:29, it features a slightly uneasy combination of old/new interviews with the cast and crew, divulging little you won't already know. The quality of the video is inconsistent, resulting in a pretty cheap look that isn't helped by a bad score. This is a real missed opportunity, as I was hoping it would take on the kind of considered retrospective Laurent Bouzereau is justly recognised for (see his masterful documentaries on TAXI DRIVER and CLOSE ENCOUNTERS to name but two).
There are two behind-the-scenes montages, running a combined 10:46. Looking at the shooting of the Jack Rabbit Slim's sequence and Butch's running down of Marcellus in the street, their raw form offers a welcome chance to see Tarantino at work, marshalling these sets with enthusiasm and economy.
A nicely produced short (6:22) on the production design features an interview with art director David Wasco and set decorator Sandy Reynolds-Wasco, who discuss their experiences on the movie and serving the tastes of their director in the construction of the film's striking mise-en-scene.
There is plenty of achival material here aswell. Included are a Siskel and Ebert special (16:00) that looked at the phenomenon Tarantino became in the wake of the film's release, an unedited reel of footage in which Michael Moore attempted to interview Tarantino and Sam Jackson at the Independent Spirit Awards (11:28), the Palme D'Or acceptance speech at Cannes, and the full broadcast of Tarantino's appearance on The Charlie Rose Show (55:00). I must say that this actually serves as one of the disc's highlights, as Charlie's interview style always allows for an intelligent and articulate discussion on the matter at hand, and inclusions of similar broadcasts on previous DVDs such as Oliver Stone on NIXON, Wes Anderson and Bill Murray on RUSHMORE and Tom Hanks on CAST AWAY, prove for far more satisfying viewing than the HBO First Look EPKs that appear on so many titles.
The disc also scores extra points for a vast array of text based supplements. You can peruse a total of 8 reviews and 12 articles by critics including Roger Ebert, Alexander Walker, Richard Corliss, J. Hoberman et al. from publications ranging from Positif to Cahiers du Cinema, and each make for compulsive reading. There are also numerous filmographies, trailers, TV spots, and extensive stills galleries.
Jackie Brown
And so on to JACKIE BROWN. Like a lot of people, I believe that this picture just gets better and better every time I watch it. I knew I liked the film when I first saw it on its theatrical release, but it is only after subsequent viewings that I can see what a truly great film it is. I now believe that this is Tarantino's best work, and confirms what a masterful storyteller he has developed into, and make no mistake, it is the story that takes absolute precedence here. What I enjoy most about JACKIE is the way in which Tarantino goes about spinning this particular yarn. Unhurried by the fast-paced demands of the conventional caper, undaunted by the multi-character conspiracies of the sting, and unphased by the expectations of zealous fans of his previous movies, he allows each character to come fully to life, positioning each delicately on the fringe of the action before bringing all of them together in the climactic double-cross. One of the things I really like about all of Tarantino's stories is the feeling that the people and the places exist outside of the boundaries of their given narratives, but if the solipsistic DOGS and PULP feel slightly constricted by the inescapable nature of their criminal milieus, JACKIE benefits by incorporating the 'real world' into many of it's pivotal moments. It may be ironic, but by leaving the underground bars and macabre dwellings frequented by Vincent, Jules and the gang for the comparative sterility of the shopping mall, Tarantino might have taken a big leap forward.
For anybody who thought DOGS and PULP were a fluke, the director's ability to coax career-best work from actors was also exemplified here, and the eclectic ensemble bring invaluable nuance to the whole glorious affair. Whilst Jackson one again makes a great contribution, creating a classic villain out of Ordell Robbie, and Robert De Niro put in his last memorable performance as Louis Gara, it was those thought to be forgotten that really shine. For Pam Grier, JACKIE BROWN was a crowning achievement, offering her the opportunity to bring the veneer of her famous iconography and infuse it with something real and personal, but the revelation was Robert Forster as bail bondsman Max Cherry. One of my favourite characters of recent years, Max was also one of the most unexpected. The unglamourous, resigned experience he brings to proceedings grounds the picture (his constant warnings that Jackie might be getting in over her head help set up the tension of the final third), and the relationship that he and Jackie dance around all the way to a parting kiss that conveys more sincerity and feeling than a dozen clinches between hot young teens is achingly endearing. And there is a great deal of pleasure to be found in countless other supporting roles, where Michael Keaton, Bridget Fonda, Michael Bowen and even Chris Tucker (in his only endurable performance to date) all have their own great moments.
The film's soundtrack, like the dialogue, is also a match for PULP FICTION's. Though it never stood a chance of invading the mainstream with the same ferocity that Dick Dale's MISIRLOU led the sounds of PULP into the public consciousness, there is little to beat the infectious jive of Bobby Womack's ACROSS 110th STREET that bookends the movie. And as the last strains of that great piece chime out over the closing credits, I feel completely sated, happy in the knowledge that I have just been witness to an artist at the very peak of his powers. I hope there will be many more opportunities to spend quality time in Quentin's world, but it will take something very special to top this effort.
Presented in vibrant 1.85:1 anamophic widescreen in both DTS and DD 5.1, the marquee supplement has to be the casual conversation LOOKING BACK AT JACKIE BROWN with Tarantino (54:38). Recently recorded, he talks with characteristic bravado, rapidly discussing all relevant details surrounding the making of JACKIE BROWN. In the absence of a commentary, this is as good as it gets.
Like PULP, there are 6 deleted or alternate scenes, all quite short and understandably discarded from the final cut. Again, completists will welcome their inclusion.
The main documentary is an improvement over it's counterpart on the PULP DVD. Though it combines old and new interviews with on-set footage, HOW IT WENT DOWN (38:51) filters details of the production through a far better structure, tracing the film's origins from author Elmore Leonard (also an exec. producer) to QT and A Band Apart to changing the race of the central character to casting.
There is the full CHICKS WHO LOVE GUNS video for your viewing pleasure (4:51), and a Siskel and Ebert review (two thumbs up)(4:44), in addition to a fun selection of interviews on MTV with Carson Daly featuring Tarantino, Pam Grier and Bridget Fonda (14:21).
Fans will also be delighted to discover archival trailers for Pam Grier's (19) and Robert Forster's (12) greatest hits. Further achive materials include extensive stills galleries, trailers, TV spots and a number of reviews and articles, including Harry's coverage of the Austin premiere right here on AICN (coincidentally, QT also mentions the site in the main interview).
So there you have it. Needless to say, I believe these films are lasting works, and despite five years away from the screen, reaffirm Tarantino as one of the most important filmmakers of our time. I'm sure nobody needs my recommendation to go out and purchase two such modern classics finally available in satisfactory editions, but I'm confident that they will prove to be great additions to any collection and I hope you enjoy them as much I did.
Dickie Greenleaf.
Again, both “Jackie” and “Pulp” arrive Aug. 20. The 10th Anniversary edition of “Reservoir Dogs” (conspicuously not reviewed here) hits the street Aug. 27.
Let’s just close with this reminder to anyone considering authoring a DVD review for AICN Coaxial News: We don’t hire dirty centaurs.
