Jackie Brown, Dolemite is My Name, and BlacKkKlansman all revisited America of 40 to 50 years ago, and all were great successes at recreating the sounds, the look, and feel of the eras they depicted. Movies like those, plus a taste of vintage classics Shaft and The Legend of Billy Jack can be found in the trailer for a new independent film starring Luke Cage and Men in Black 3 star Mike Colter. Filmed like an early 1970s movie by director Patrick Gilles, I’m Charlie Walker is the story of an entrepreneurial trucker who took on management of the clean-up of the Standard Oil tanker wreck and oil spill at the Golden Gate Bridge in January 1971.
Quentin Tarantino’s first novel is clearly not the stuff of a first time writer, and it has plenty to say. Once Upon a Time in Hollywood is the twice Academy Award-winning writer taking another look at his grandiose mix of Hollywood fairy tale, historical pop culture nostalgia trip, and the wish-fulfillment fantasy dream. Tarantino is well-read and it shows. He’s sat with many a filmmaker from the 1960s era and it also shows. The novel, not a true novelization but something far superior, is his attempt at writing in the Elmore Leonard style. The result is a novel ten times as good as his giant-sized movie. His two Oscars for screenwriting should have clued us in. The book is available in two editions: one a pulp-style paperback, and the other a color photograph-filled hardcover that feels a lot like a Blu-ray with extra special features, including many deleted scenes. If you like pulp crime, and loved or merely liked the movie, you’ll want to give this a read. Once Upon a Time in Hollywood is available now here at Amazon.
The best work of some of the best creators, especially movie directors, happens when the creators are tested by someone else’s source material, where they aren’t allowed to indulge themselves with carte blanche resources and instead show restraint in their skill and craftsmanship. Perhaps Stanley Kubrick’s best work really is his adaptation of Vladimir Nabokov’s Lolita, and Quentin Tarantino’s best work is Jackie Brown, his adaptation of Elmore Leonard’s Rum Punch–both studies in how to create a perfect film. Although 20th Century Fox obviously wasn’t ready for it, William Gibson, known for “cyberpunk,” actually handled his screenplay for the third Alien movie quite well, but it was summarily discarded. Next month, dressed up and fleshed out is Pat Cadigan’s Alien3–The Unproduced, First-Draft Screenplay by William Gibson: A Novel. Pre-order Cadigan’s novel adaptation now here at Amazon. Readers will find no cyberpunk here, but what Gibson handed in was a better Alien franchise story than what became Alien3, not quite Alien or Aliens, but still one great thriller. Understandably, however, the script was rejected by the studio for missing a key feature that couldn’t be overlooked.
It’s always exciting to work your way through a Philip K. Dick novel for the first time. The singular futurist who created the worlds of Blade Runner, The Man in the High Castle, Minority Report, and Total Recall probably created his most spectacular characters, ideas, and fantastical places in the pages of his five volumes of collected short stories. His 38 novels are an up and down journey through a man who allowed his personal crises to seep in, and often obstruct his imagination. Most of these were science fiction novels, but his novels outside that genre are another matter. One of these, written around the year 1956 about a disc jockey in the changing streets of 1950s San Francisco, is The Broken Bubble, one of the closest and earliest read-alikes you’ll find from this author to the energy and twists of a Quentin Tarantino movie, in a compelling read that world pair nicely with a popular, more modern dramatic read like Midnight in the Garden of Good and Evil.
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 Tarantino’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 Tarantino’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 Tarantino 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 Tarantino 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 Tarantino 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 Tarantino 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 Tarantino 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).
The Renaissance of movie and TV tie-in action figures arrived in 2013 with Funko’s classic Kenner-style ReAction figure line. Other companies focus on single licensed figures and getting the likenesses spot-on, but Funko’s diversification of lines meant everyone could find something that fit their personal niche at an affordable price point. A true throwback series, one of the overlooked features of the line is the incredible variety of no-names-taken, classic kick-ass heroines represented.
In fact you can find here the top of the world’s best, in-your-face, take-no-prisoners, genre heroines. Buy them for yourself, for your friends, or get your favorite as a totem to inspire you each day from your desktop. And where the early sculpts in Funko’s line admittedly looked nothing like the actresses that made the roles famous, the new lines have only improved. And nobody has better packaging designs than the ReAction line.
Who would you add to the Funko roster of heroines? Compare your list to our more than 85 suggestions for future kick-ass women action figures below.
First, check out this Baker’s Dozen of our favorites in the current Funko pantheon:
This August thousands of sci-fi, fantasy, and superhero fans will attend the inaugural Kansas City Comic Con, a new comic book and pop culture convention to be held at the Kansas City Convention Center at Bartle Hall. Four months away and the show has already booked some great movie and TV guests as well as the very best comic book and fiction writers and artists in the U.S.
Headlining the show will be none other than Jackie Brown herself, actress Pam Grier. Not only is Ms. Grier known for her leading role in Quentin Tarentino’s hit film, but she has also starred in the classic 1970s films Coffy and Foxy Brown, as well as Fort Apache The Bronx, Something Wicked This Way Comes, John Carpenter’s Escape from L.A. and Ghosts of Mars, and TV series including Night Court, Crime Story, Knots Landing, Miami Vice, Bones, The L Word, and Smallville.
Many Doctor Who fans will get their first chance to meet Colin Baker, who played the fan-favorite Sixth Doctor on BBC’s original series from 1984 to 1986. Known for his bright patchwork jacket, you may have seen him most recently in the funny film The Five(ish) Doctors Reboot, discussed earlier at borg.comhere.
In this big year of Star Wars, Kansas City Comic Con attendees will get an opportunity to meet two actresses known for their roles as Jedi Knights in the Star Wars prequels. Nalini Krishan played Barriss Offee, a Jedi Knight and General in Star Wars: Attack of the Clones. Also scheduled to appear is Orli Shoshan, who played Jedi Knight Shaak Ti, also in Star Wars: Attack of the Clones (as well as deleted scenes in Star Wars: Revenge of the Sith).
With the popularity of Quentin Tarantino’s other writing and directing achievements, Jackie Brown tends to get short shrift. Based on Elmore Leonard’s novel Rum Punch, it’s the exception in Tarantino’s film arsenal where the story concept didn’t originate from the mind of Tarantino. Yet there are enough changes made by him to make 1997’s Jackie Brown a standout film for the heralded director, and it may very well be his best all-around film, full of style, suspense, and pulp cool.
The prime reason for that is his handling of the character of Jackie Brown as a tough, no-nonsense survivor, and Pam Grier’s ability to fill those shoes perfectly. The cast of top Hollywood stars and character actors, including Samuel L. Jackson, Robert DeNiro, Bridget Fonda, and the great Robert Forster fills in the remaining blanks. But you may forget the key role played by Michael Keaton as straight-shooter cop Ray Nicolette.
Keaton played a supporting role in a previous ensemble cast effort under a popular director, Kenneth Branagh’s Much Ado About Nothing, as Dogberry, the closest on-screen attempt at showing what Charles Schulz’s Pigpen would look like all grown up. Part of the conceit of Keaton’s new film Birdman is the intended irony of a washed-up actor that once played a popular character called Birdman, and the obvious comparisons to Keaton’s Batman and lack of promising acting gigs in recent memory.
In fact Keaton has always been a working actor plugging away at film roles through the years and Dogberry, along with Jackie Brown’s Ray, may have helped fuel the vibe since Keaton was either content to join these ensemble casts with small parts, or that was all he was offered. Either way, these weren’t major leading man roles as he has found with Birdman.
How does a Western get nominated for a Best Picture Academy Award in 2013? As recently as two years ago the remake of True Grit was nominated for Best Picture and nine other nominations—but did not net a single win. But would it have been nominated if it hadn’t been directed by the quirky directing duo of Joel and Ethan Coen? Five years earlier Brokeback Mountain, a film with a Western—or at least a cowboy– theme was also nominated for Best Picture, winning three of eight nominations. It took director Ang Lee and a completely non-Western plot for that to happen. Then you have to go back to Unforgiven in 1992, which actually won Best Picture and four of nine of its nominations, to find the last major, critically acclaimed Western.
What made Unforgiven win? Certainly by supplying one of the two most popular Western actors of all time as the film’s lead helped, even if it was one of his more bland performances, with Clint Eastwood also serving as director. (Yes, John Wayne still remains the #1 most popular Western actor ever). But more importantly, like the few notable Westerns since, it had a very non-standard plot for a Western. With its gunfighter-turns-farmer-turns-gunfighter-one-last-time story, it was basically a dark sequel to John Wayne’s Angel and the Badman. You could keep going—back to Dances with Wolves in 1990, an example of the “epic Western” which seemed to reward the director and acting efforts of rising star Kevin Costner more than the movie as a Western genre masterpiece. Or back to Butch Cassidy & the Sundance Kid in 1969, probably the last classic era Western to be nominated for a Best Picture Oscar, winning five awards, including a key win for the script by William Goldman. Then go back to the also-quirky Cat Ballou in 1965 starring Jane Fonda—the rare Western notable for featuring a female lead.
Going back even further gets you into the classic era of Westerns, and throws you into the strange era of “epic Westerns” getting recognized by the Academy. These were movies that in hindsight are really not as well done as many smaller pictures of the period, but their huge all-star casts and expensive sets made the films hard to ignore, such as How the West Was Won, The Alamo, and Giant. Surprisingly you have to look back to the adaptation of Louis L’Amour’s Hondo starring John Wayne in 1953 to get back to the era of the “hero Western” as recipient of an Academy nod, a film up there with Shane and High Noon as successful and admired Westerns receiving acclaim by the Academy.
But if you put aside the classic Western and look at what has been selected by the Academy since the 1960s it makes a lot of sense that Quentin Tarantino’s Django Unchained is not only a Best Picture nominee this year, but a real contender for the win. Set in the South two years before the Civil War, the film follows a slave named Django (Jamie Foxx) whose past owners lead him to meet up with German-born, dentist-turned-bounty hunter Dr. King Schultz (Christoph Waltz). Schultz’s next target is the wanted-dead-or-alive Brittle brothers, and only Django can help him literally recognize his bounty. Schultz serves as mentor in survival and pursuit skills for Django who is squarely focused on rescuing long-lost wife Broomhilda (Kerry Washington). The search ultimately leads to a more complicated than necessary scheme to buy Broomhilda from infamous plantation owner Calvin Candie (Leonardo DiCaprio), if only his loyal house slave Stephen (Samuel L. Jackson) will not stand in the way.
So what is the formula for a successful Western in the 21st century and why should Django Unchained make the cut?
