Review by C.J. Bunce
Elmore Leonard’s 30th novel would become one of his most widely known stories. Leonard, the “Dickens of Detroit” and one of America’s greatest crime authors, wrote 45 novels before his death in 2013, including Westerns like 3:10 to Yuma and later popular works Get Shorty and Be Cool, but his own favorite film adaptation, and the best screenplay he’d say he had ever read, was Quentin Tarentino’s Jackie Brown, the film adaptation of Leonard’s 1992 novel Rum Punch. Although Jackie Brown will likely not go down as the most popular of Tarentino’s films–that will probably always fall to Pulp Fiction—Jackie Brown is probably his best work, a straight crime thriller without all the over-the-top operatic bloodbaths of his other films. It’s also one of the most faithful film adaptations you’ll ever see, keeping most of the dialogue and sequences from the novel. Rum Punch is celebrating its 25th anniversary this year and Jackie Brown celebrates its 20th anniversary next month.
Only a few chapters into Rum Punch and it’s easy to understand why Tarentino acquired the screen rights to adapt the novel for film. The characters are edgy and typical of the pulp crime genre, yet they are also unique in their depth. Leonard weaves Jackie, Max, Ordell, Louis, Melanie, and Ray into an intricate and fulfilling caper and con job. Jackie is driven, determined, and a little rough on the edges. Max is a straight shooter and ex-law enforcer who plays by the rules. Ordell and Louis have years of crime between them and are moving beyond the petty crimes of their past. And the book is filled with cool–cool people, cool ambiance, cool talk. The biggest difference between book and film adaptation is in Leonard’s handling of the relationship between Jackie Brown and bail bondsman Max Cherry, played so well by Robert Forster in the film. Jackie Brown sketches what may be one of the best modern romances on film–a subtle and almost teenage infatuation between the two film leads that culminates in a simple kiss at the end of the film. Jackie and Max seem to care sincerely for each other, and the film leaves Max to return to his life of writing bonds while Jackie drives off into the unknown. But the original novel left open whether the two characters would go off together, while making them a romantic couple early in the story. In the novel Max has been estranged from his wife for a few years and he’s finally getting to filing the divorce papers. But Max doesn’t have much to drive him until Jackie shows up and they end up in the sack, almost taking away from something Tarentino was able to tap into to make more touching for the film. Leonard gives Max and Jackie individually second chances and an opportunity to start anew with each other–if only they’d just take it. Leonard leaves the question open–is there a happily ever after in the cards for them? But Tarentino has Max watch as Jackie drives off. It’s a gut punch–there’s no happy ending here. The viewer can’t help but imagine him getting into the car and going after her, after the credits roll. Which is better? That answer is in the eyes of the reader.
But there are other differences worth noting between the novel and the film. Leonard’s heroine is a blonde woman named Jackie Burke. Initially Tarentino was nervous about discussing with Leonard the re-casting of the lead to Pam Grier for his film, but Leonard was in favor of it. And the name shift was simply because Tarentino thought Jackie Brown was a cooler name than Jackie Burke. Rum Punch, the title of the 1992 novel, was the term used to identify the scheme that Ordell (played in the film by Samuel L. Jackson) was using to bring money into the U.S. from Jamaica (this is the same type of arms purchase scheme and players that were the focus of this month’s new Tom Cruise movie American Made, reviewed here).
