This is a movie so far away from my idea of romance that it earned it's own review. Romance for the 90's? Romeo and Juliet with a Twist? Interesting story? Not terribly, in terms of structure. Great acting? Yes, I have to admit that is present in abundance. Terrific direction? Oh,uh, probably not, but slick and serviceable. Production values? Ummm...Ok I'll give you that. So let me cut to the chase, here. This movie lives on the strength of two factors, one, the screenplay by Quentin Tarantino, and two ,the efforts of some outstanding performers. And we'll talk about the rest.

I think this movie is interesting historically because for Tarantino, it's the one that got away. He sold the rights to the screen play to finance DOG DAY AFTERNOON(1992), which will go down in film history as one of the defining films of the nineties. With Tarantino directing, this movie may well have had a similar impact. Because even with Tony Scott directing, it is interesting.

This movie was recommended to me by a friend on Epinions who left a comment on my review of THE MEXICAN. So, here's the proof that the site 'works' for commercial benefit in the movie section.

Tony Scott, brother of Ridley Scott (who had an extremely lucky break with THE GLADIATOR,) has an interesting, but not spectacular filmograpghy of his own. Tony Scott’s first film The Hunger was a spectacular flop. But he had two Tom Cruz vehicles (you like that wording?) Top Gun (1986), and Days of Thunder 1990, plus Beverly Hills Cop II in 1987 to assure him a job in Tinsel Town. True Romance (1993) establishes him as a guy able to take risks (and when he took it on, Tarantino was hardly a Hollywood hero) so I’m willing to credit him with some skills. And Tarantino’s influence wasn’t completely washed out of the flick, these guys have some common goals. This should be obvious from one tell- tale scene, in which our heroes sit together watching Woo’s A Better Tomorrow on TV, in Cantonese. The ending of the movie though, was changed, making it a romantic romance instead of a tragic romance. (The male lead lives instead of dies)

The violence of the flick shows the unmistakable influence of John Woo, the supreme choreographer in the genre. People are shot point blank and there are stylized gun battles that approach the work of the master. But there is also a good deal more blood, and bludgeoning going on, with people that don’t necessarily rise to fight again. There are some established Tony Scott trademark shots, involving smoke, colored filters, and light through windows, but the images are not overwhelming. His set design is unremarkable, but some of his action scenes in this flick are superb. Especially well done are the claustrophobic scenes in the shower, when “Alabama” is contending with a killer, (relax, it isn’t PSYCHO revisited) and the dark theater and bar scenes.

The music, with a thematic Elvis Rockabilly sub theme is done well, almost as important as a character in this movie. (In fact 'Elvis' does appear) There are some “love songs” as thematic content, and a connecting score that is at least unobtrusive. If you recognize the Xylophone instrumental from the Badlands, (1973) you get the prize.

The screenplay is quintessential Tarantino: the dialog is the brilliance that marked PULP FICTION , with big blocks of dialog written for each scene revealing characters, and defining plot elements. In this movie, though, those characters seem to rise up out of the mist, have a moment of brilliance, then just disappear, leaving our Romantic Couple alone to face a new set of adversaries. It is terrific in the sense that you never know who’s going to show up next. It is bad because the pacing is uneven, and at the end you have to wonder why the character was created if it would not appear later. It almost reads like a 'Bonnie and Clyde' scenario, with the lovers on the run mowing down any obstacle. The odd thing is that great care is taken to establish these characters that pop up and disappear. Case and point are the characters created by Walken and Gandolfini. I can’t call it good or bad, but it is interesting.

Also, I have to say I don’t know too many movies that use Detroit for an opening scene, although the plot doesn’t hover there long. Most of the scenes were filmed in real places in California, and a lot of the action takes place in hotels and seedy motels.

There are some outstanding (but short) performances in this flick and there seems to be good chemistry between Slater and Arquette. For Arquette, it stands as her best role, and it is probably my favorite to date for Christian Slater. The story revolves around their romance. As individuals, they were outside the fringe, both misfits. Together, the rest of the world doesn’t matter.

THE PLOT

“ I watch that Hillbilly and I want to be him so bad”. (Clarence Worley to Barfly)

We meet our hero Clarence Worley, comic book purveyor, swigging booze in a dive on his birthday, trying to pick up a chick. He talks of his infatuation with Elvis. He offers to take her to a Kung Fu movie. She demurs. He goes anyway. And this is where our story really begins.

“If you gave me a million years to ponder I would never have guessed that true Romance and Detroit would go together.” (Alabama’s opening narration)

(Me either.) Clarence is sitting in the dark enjoying his flick alone, when a pretty girl sits down with him, and insinuates herself into his awareness. They hit it off and she goes home with him. During the night, he finds her outside on a window ledge crying, because she was sent to him as a call girl for his birthday, and fell in love. The next day, they get married.

“Who and what is a Drexl?” (Clarence to Alabama)

“Clarence I like you. Always have, always will.” (Elvis to Clarence)

Clarence consults with Elvis and decides he is going to have to deal with Alabama’s pimp, Drexl Spivey. It’s a mixture of pure jealousy, rage, and chivalry that spurs him to confront evil it its den. (If you doze through the movie, don’t miss this scene especially Oldman as Drexl) Samuel Jackson shows up here too, but you won’t recognize him. And he doesn’t stay long. In a scene of startling violence, our hero prevails, and grabs Alabama’s “Things”, packed into a suitcase.

When Alabama opens the suitcase looking for clean clothes, the suitcase is filled with bags of uncut cocaine. Clarence and Alabama stop at the Worley senior’s ramshackle trailer home to get some cash, and take off running. The mob comes a little later and nails Clarence’s father, but not before the most memorable scene of the movie occurs, with Hopper as Dad Worley, and Walken as the Mafioso tough guy. Listen for the” history of a Sicilian” by Clifford Worley.

Clarence and Alabama surface in Hollywood, at an old buddy’s house. His buddy is trying to make it as an actor in Hollywood. Clarence wants to unload the dope, and who better to choose as a buyer than the corrupt movie industry?
A contact is made, and the deal looks promising. But they haven’t really escaped the mob, and the mob appears at the motel when Alabama is alone, and Clarence is out for take-out. This is another of the defining scenes of the flick, when Alabama deals with the hit man, who is given another of those priceless chunks of dialog.

“If there’s one thing this last week has taught me, its better to have a gun and not need it, than to need a gun and not have it.” (Clarence to Alabama)

It ain't over yet! The police get involved, when the yuppie contact gets caught speeding and is caught with a sample bag. The mob is still after Clarence and Alabama. The final violent climax is going to involve everyone and everything: dope, guns, money, cops, mob, and Hollywood hotshots, in a scene worthy of John Woo.

You’ll have to see for yourself whether they get away, live or die, and who ends up with the dope and the money. The movie will keep you guessing, and you’ll WANT to see how it ends.


THE CAST

Christian Slater as Clarence Worley. Slater is a discovery for me, because I didn’t recognize his ability until recently, focusing more on his less glamorous qualities. He is a little short, and a little weasel like, and it took me a while to get over it. He does a believable job here, as a flawed hero. In this movie, he is outlandishly and simplisticly romantic, but all the rules are broken. He brutally kills a guy, but goes on acting like the kid next door.
Patricia Arquette as Alabama Whitman Worley. This is her best role to date, and the only one worth remembering, including the more recent Stigmata, and Scorsese’s Bringing out the dead. She is not overly bright, but she isn’t a stereotype of any kind I could readily identify, either. There is some depth developed, both to her and Scott’s credit as a director.
Dennis Hopper as Clifford Worley. Hopper never stopped working, and is one of those actors who will be remembered someday, I think. My favorite performance to date was in Flashback (1990), with Keiffer Sutherland. Excellent performance as Clarence’s father. In two scenes, much is revealed about this character, also flawed. He is a hero of sorts.
Val Kilmer as Mentor (Elvis). You never see his face, only flashes as the voice Clarence hears in his head, personified. Not big, but important.
Gary Oldman as Drexl Spivey, the cold-blooded pimp. This is the unquestionably best performance in this flick, with Oldman in dreadlocks, dressed in pimp pomp, pulling off the deadly character who is wearing the most outlandish pimp-gear I have ever seen. And he does it with style.
Brad Pitt as Floyd, the stoned out roommate of Clarence’s friend. This is hilarious, as Pitt never gets straight; and mumbles his general disaffection with the world.
Christopher Walken as Vincenzo Coccotti . One scene, and this character lives forever, in typical Walken style, equipped with Tarantino’s dialog.
James Gandolfini as Virgil. He too gives an outstanding performance as the goon that comes after the couple in LA, and has another chunk of Tarantino dialog with Arquette. Watch for it. It’s a good one.
Michael Rappaport as Dick Ritchie the aspiring actor. Rappaport is solidly in his buddy role, and to my knowledge has never done better than that.
Bronson Pinchot as Elliott Blitzer. This is another comic role, which Pinchot pulls off well.
Unless my vision is even worse than I thought, Tarantino himself is in one scene, although he doesn’t appear in the credits.

FINAL RECOMMENDATION

There are some good reasons to watch this film, if you can get past the violence and the bad language. Scott puts it together well, although not perfectly and the movie occasionally lags. Still, there are some outstanding performances and brilliant dialog to compensate. Good movie, Great rental.



Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Not suitable for Children of any age