1. Quentin's "receiving"
Jackie Brown is to Quentin, in my opinion, what Zodiac was to David Fincher the year before. Two geeks, who are known for their unbelievable nature, chose a low-key directing approach when faced with existing material. . In Jackie Brown, Quentin hides his strange little hobbies (except for the uncontrollable foot fetish) in a corner with a high degree of self-discipline of the Puritan style. There is no complicated non-linear narrative structure, no violent scenes of pure blood spurting, and there are just layers of stories and superb performances. Even the most exciting cash transfer passage in the film is not at all divorced from the narrative. Quentin's "acceptance" is only embodied in the style itself, and his skill in scene management can withstand repeated scrutiny by the audience in Jackie Brown's tuning paragraph. From the arrangement of time and the paving of the narrative by the long shot, to the smooth transition between the subjective viewpoint shots of different characters, the audience returns to the scene of the event from three different angles, gradually revealing the truth of the adjustment package. In this way, the method of reconstructing reality by deconstructing the scene is used in Antonioni's "Zoom", Coppola's "Dialogue", DePalma's "Furious Line" (one of Quentin's favorite movies), "Snake Eyes" It has been used in "Femmanship" and "Snake Beauty". Quentin's long-shot follow-up is undoubtedly reminiscent of DePalma's precision-designed long-lens in-lens scheduling. In all fairness, Quentin’s long lens is far less technically difficult than DePalma, but the concise and easy-to-understand language of Quentin’s lens in Jackie Brown can also show a heart-wrenching picture tension, which is even better in some respects. Yu De Palma’s complicated and fancy, coupled with a few wonderful details in the transfer paragraph (Jackie used to buy clothes to disrupt the original plan of the police, used 10,000 yuan to bribe Melanie as evidence to justify himself, etc., De Niro and Bi Ji Fonda's quarrel), not only highlights the contrast between the calmness and panic of the three groups of men and horses, but also makes people admire Jackie's subtle wisdom in surviving between black and white. Quentin's meticulous attitude towards criminal deception as an aesthetic object is reminiscent of his idol Melville. In fact, Jackie Brown is indeed the one closest to the Melville Cool fan in Quentin's works. In the film, Samuel Jackson killed two people, Quentin did not let the audience see the face of the murderer and the murdered. After the murder, Quentin either cuts directly into the perspective, or asks Jackson to close the trunk and continue listening to his favorite music. The calm image is almost suffocating.
2. Superb performance
Jackie Brown's cast is nothing short of gorgeous, and the two names of De Niro and SLJackson are still enough today as a box office guarantee. But the most exciting performance in the movie is undoubtedly from Pam Grier, she gave Jackie both strong and fragile temperament in this film, so that this middle-aged black flight attendant who survived in the underworld of LA can easily make the audience worry about it. In the film, she stepped on the beat of the music to go to the location of the tuning package, completely withstand the test of close-up, almost made me forget that this is the method Quentin has used in "Falling Dog". The most touching relationship in the film is the strong trust between her and Robert Forster. The two actors only have a few short glances, and the inextricable chemical reaction of friendship and love between each other is enough to make the audience feel deeply moved. Compared with the two protagonists, the performance of the supporting role can only be described as qualified, except that De Niro's performance is indeed a subversion of his previous image of the gang boss, and such a funny character with a head show that makes him more than a fuss. The lively performance can only make people admire Lao Luo's broad drama. Sam Jackson's anti-number one is much more satisfactory. Who told Quentin not to give him another chance to read the Bible this time? But I have to say that his clothing taste in the film is still good.
3. The music kaleidoscope in the 1970s
may be the biggest similarity between Jackie Brown and Quentin's other works, which is the nearly perfect music taste of the film. Quentin's carefully selected songs from the black music of the 70s and the original soundtracks of the B-level films immersed the film in a nostalgic complex that is incompatible with the 90s. Music does not have the will to overwhelm the main character in Jackie Brown. Most of the songs appear in the form of sound sources in the painting (Quentin probably only started to write the script for the specific scene after choosing the song), but they are not inferior to the degree of integration with the plot. In "Pulp Fiction" or "King Kong Is Not Bad". For example, in the scene of three groups of people rushing to a shopping mall, they are accompanied by three different styles of music, which can explain the motives that lured them to participate in the conspiracy, and also provide a foreboding of the results they get. The last long shot at the end of the film allows Jackie to sing Across 110th Street with Bobby Womack, which not only allows the audience to feel relieved with Jackie, the ironic relationship between the lyrics and the plot also points directly to Jackie's better tomorrow.
4.
Jackie Brown, a good movie that allows the plot and characters to speak for itself, is perhaps Quentin's most emotionally contagious movie. Although "Falling Dog" talks about undercover life and death, "Pulp Fiction" mentions religion and salvation, "Kill Bill" is even more hailed as the ultimate love book by abnormal humans, but their formal postmodern sense of play weakens the film's infection force. The appeal of Jackie Brown comes from Quentin's trust in the original material of the film, and his reverence and love for the two character actors of the 70s, Pam Grier and Robert Forster, and the B-level films they represent. It will undoubtedly require Quentin's courage to make two actors appear in his first work after "Pulp Fiction", but the important thing is that Quentin did not lose a bet. The ending of Jackie and Robert Forster parting ways in the film reminds the audience of the commonplace reality: Life goes on. The term Quentin does not simply equate with the masterpiece of "Pulp Fiction." As one of the greatest directors in contemporary America, Quentin’s glorious resume needs not only a high to full-blown movie like Pulp Fiction, but also a humble and sincere like Jackie Brown, so that the plot and characters can speak for themselves well. movie.
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