Jackie Brown (1997)

Until recently this was the only Quentin Tarantino film that I hadn't seen, for whatever reason it had always eluded me, at the time though it was under close scrutiny, coming off the back of Reservoir Dogs ad Pulp Fiction, and whilst it is perhaps less immediately impressive as those efforts there is an added layer of maturity here that I was surprised and impressed with. Many will forever labour Tarantino as a stylist first and formost, someone who crams in his love of film history and quirky fetishes into every film, and whilst those traits are visible here what Jackie Brown ultimately boils down to is a tremendously entertaining character piece choc-full of brilliant performances.
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Based on the Elmore Leonard novel Rum Punch (he was also responsible for Get Shorty and Out of Sight) Jackie Brown focuses on the titular character, a superb Pam Grier, a low-rent flight attendant who finds herself supplementing her income by smuggling money across the border to Cuba for small time arms dealer Ordell (Samual L. Jackson, never better than he is here). When the police catch on to this Jackie is given a choice, jail or help them take down Ordell. However her loyalty is tested, especially when she befriends her worn down bail bondsman Max Cherry (Robert Forster). Add into the mix Robert DeNiro as one of Ordell's prison buddies who has just been released and you have an all-star cast of acting talent brought to a head in a clever and twisting tail of betrayal, murder and, naturally, amazingly sharp dialogue. The film takes its time setting up characters and the story, focusing on Grier's somewhat embittered but fierce Jackie Brown. She is wonderful in the film, strong but proud and it is clear from the way Tarantino shoots her that the film was largely built as a vehicle to re-launch her as a star. The symmetrical opening and closing sequences, set to Bobby Womack's 110th St. are perfect, as usual Tarantino's soundtrack is as integral part of the film as anything else.
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As well as a twisting and involving narrative, the film is also very funny in places, Jackson and De-Niro (better here than he has been arguably since) make a great double act, neither one all that smart but both dangerous and equally tormented by Jackson's live in stoner girlfriend played with wonderful detachment by Bridget Fonda. Equally Forster plays the sad-sack well meaning bondsman with a tremendous amount of heart and feeling, the way his relationship builds with Jackie Brown is sweet and understated, it becomes clear how she re-ignites something inside of him that his job, seeing constant parades of criminals come and go, had all but taken away. These are simultaneously larger than life, stylised characters, spouting razor sharp dialogue but also very human recognisable souls, something that isn't always the case with Tarantino. It is ultimately this humanity that makes the film resonate, it's clever three-way final sequence is a great example of a directorial trick that feels appropriate for the film and the story, not a gimmick. The film's languid pace is often a blessing in that it gives the characters and actors a chance to breathe, and when even incidental scenes are acted, shot and edited so well it never becomes a chore.
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Whatever it was that was holding me back from watching Jackie Brown, I'm glad that I got past it. Whilst it may not have the immediate impact of much of Tarantino's other work it ultimately feels like one of his most accessible and meaningful films. Full of great performances and dialogue this comes highly recommended as the kind of the film that, simply put, no-one else could make.