Welcome to our Reference Degustation where we take you through a six course menu of foot long quippy Tarantino debauchery. Third course: Jackie Brown.
Succumb to the charms of Pam Grier compelling you to simp, respectfully. Join us with proof of Tarantino range with Jackie Brown this week.
Director: Quentin Jerome Tarantino
Writer: Quentin Jerome Tarantino
Based on: Elmore Leonard (novel “Rum Punch”)
Released: December 1997
Worldwide Gross: $39,673,807
Breakdown and Analysis
- Oti Rankings: Jackie Brown, Pulp Fiction, Reservoir Dogs
- KT Rankings: Jackie Brown & Pulp Fiction (tie), Reservoir Dogs
- We both loved this film and may possibly attribute it all to the ever eternal Pam Grier. Jackie Brown was KT’s first introduction to Pam Grier. First time watching for both.
- All splooshes were deposited into the podcast episode and KT, in particular, understand why Max Cherry was a hardcore simp for Jackie Brown. You know you got it bad when the silhouette made you want to lay down your life for Jackie Brown.
- We kept anticipating the distinct brush of Tarantino to ruin the earnest attempt at storytelling and multi dimensional Black characters. Tarantino writes for Samuel L Jackson so well.
- Jackie Brown is hope for us to witness the range of Tarantino. We had our perception challenged by this film and give more respect to his ability to tell a story and weave in his stylings.
- We got distracted and fearful of Samuel L Jackson with a brown haired ponytail. Ordell was the genesis of Samuel L Jackson as Uncle Ruckus before his role in Django Unchained.
What are your views on the QT approach to violence? < JAMIE
We both agree this was the least stylised violence compared to Tarantino’s films. It mirrors closer to real life like in Reservoir Dogs but Jackie Brown has more consideration for the characters. When Ordell killed Beaumont it made sense through his logic about not wanting loose ends. KT brings examples of characters keeping loose ends around like Franklin Saint from Snowfall and Ghost from Power. If this is the life you choose and you want to live in that life for as long as possible, you need to commit. We appreciate Ordell’s direct approach.
QT-verse theory (films within films) < ROB
Jackie Brown is insular and feels isolated from the Tarantino Verse which KT gestures is a good thing. It deserves to be praised alone.
Is QT the best contemporary director to match visuals & music? < JAMIE
We agree that Tarantino is the best to match visuals and music to inform tonality. On a lesser level it felt more like a scene with a song, a scene with a song and so forth. Oti claims Jackie Brown to be the least wankery Tarantino film.
At what point does QT’s stylised, hyper-aware of itself dialogue become a hindrance to the film rather than part of the magic/charm? < BEN
We again take qualm in the framing of the question as dialogue is one of the best elements for us. Jackie Brown was the epicentre of the film and all dialogue was in consideration of the orbit. We cannot recall a time we were taken aback by the dialogue.
Rewriting history < JULIO
California/Hollywood/Film/Genre < ROB
KT is not placing this film on the shelves of beautifully crafted Black films set in LA however it did deliver a beautiful offering. We have Ordell laughing about picking up Sharonda after being there for two days and dropping her off in Compton making her believe it was Hollywood. Oti references the use of Across 110th street and how it perfectly melds in thematically to the overall message of the film. At least Jackie Brown can get out, even if the system will continue to trap the majority. There is a glimmer. These characters have a back story and are a part of a community. They aren’t just in isolation to say quotable quotes and slick aesthetics.
Pop Culture References < JULIO
Pam Grier’s contribution to Blacksploitation films like Coffy and Foxy Brown. KT enjoyed how the film wasn’t marinating in pop culture references. We muse over the popularity of other films over Jackie Brown and how it reflects on the audience. Do we celebrate Black people or do we just want to take the parts we like out of context?
Feeeeeeeeeeeeet < JULIO BRENT
We delve deeper into the foot fetish and agree the appeal is probably more the toes over the ankles. KT noticed it was almost always just one woman’s feet we would see so more deliberate. They don’t call him Sonic Tarantino for nothing, don’t ask us where his knuckles go.
The reluctant hero < ROB
Max Cherry. It helped that we fell in love with Jackie Brown but it was clear he would do anything to save her. Reluctant is a liberal use of the word but he was absolutely the hero.
Casting old favourites and reviving their careers < JULIO
Pam Grier love train.
Everytime I show one of his movies to someone that hasn’t seen them I always wait for the moment he or someone else drops that N word to see how they react. < BRENT
Ordell used it a lot but was not the only. There were chances for Nicolet but he didn’t. Didn’t feel like moments where it would be inserted but that didn’t stop him from writing it into Reservoir Dogs and Pulp Fiction.
Are QT race related quips justified in this film? < PAUL
Racial slurs < JULIO
The way the police spoke to Jackie had undertones but that was a more broader observation as opposed to her specifically.
Why does QT insist on including himself (usually as a racist) when he can’t act? < BEN
It was surprising to not physically insert himself into the film. We had a good time and it was not ruined by him.
Unrelated but vital points
- We learn more about Oti’s crumpled magazine covers and starched bed sheets.
- KT wants to explore the concept of White people writing stories with characters that are of a different race. Bad examples include Malcolm & Marie and The White Lotus. Perfect example is Jackie Brown.
- Crime is crime but it is also systemic prejudice.
- Bilquis from American Gods reference.
- Oti distinctly remembers Pam Grier in L Word.
- Please invest in KT’s Grier-vision where she tries to insert Pam Grier in everything