So once again we have survived.

True Romance

TRUE ROMANCE is an entertaining, uniquely textured crime movie, a celebration of youthful love, kitsch, Asian exploitation cinema, and great character actors. At the time it seemed like a new feel, especially coming from Tony Scott. Now it’s more notable as a record of young, undisciplined Quentin Tarantino manning the word processor. (Roger Avary was hired to restructure the original non-linear story and write an ending where the hero doesn’t die – yeah, that sounds like young QT all right.)

This was Tarantino’s first completed script, and the first one he sold. Scott read both TRUE ROMANCE and RESERVOIR DOGS and could’ve done either one, but Tarantino wisely told him to take this one and then used the money to get started making RD’s himself. That was the more intimate one, but TRUE ROMANCE seems more personal. Clarence Worley (Christian Slater) seems to be the movie version of Tarantino: a shy nerd who works at a comic book store, goes to a Sonny Chiba triple feature alone on his birthday, has a speech about Elvis he uses to hit on girls (it gets the same awkward reaction both times he uses it), connects with a woman on the basis of liking the same singers, loves to talk about movies he feels are under-appreciated, has a friend who’s trying to become an actor in L.A. whose walls are covered with vintage movie posters (Tarantino on the commentary track says he doesn’t like this because they would be too expensive for the character to own and seem like random titles he wouldn’t be into)… but this is a movie, so instead of just working and writing Clarence Tarantino accidentally steals a suitcase of cocaine, tries to sell it, finds himself mixed up with dangerous gangsters, foul-mouthed cops, a Mexican standoff, still finding opportunities to list the cast of THE MACK or compare his driving style to BULLITT.

Clarence is a character out of his time. He obsesses with music, movies, comic books, cars and clothes from previous generations. Tarantino was seen as this cutting edge new voice, but he was trying to spread his love for old stuff. About the only semi-new reference in the movie is when A BETTER TOMORROW II is playing on a TV – it was 6 years old by then, but a pretty new discovery for Americans and not even filmed when Tarantino wrote the first draft.

It’s an interesting comparison to NATURAL BORN KILLERS, written around the same time. I think at least in the finished film it’s a much more convincing portrayal of two dumb kids infatuated with each other. Maybe that all comes down to Patricia Arquette’s performance as Alabama. The way she looks at him when he shows her Spider-man #1, maybe she really had a crush on him. They’re so much like kids in love with being in love, always giggling and making out inappropriately and spontaneously fucking in a phone booth. They would be annoying to be around (poor Dick Ritchie), but it’s kind of sweet.

The sincerity and cluelessness is summed up by Alabama writing Clarence a note that says “You’re so cool” right in the middle of a tense drug deal. Her mind is other places.

It’s as media-saturated as NBK, but of course it’s kind of an autobiographical obsession with pop culture, not a criticism. It’s a celebration of people talking about THE STREET FIGHTER, the King (who’s so important to Clarence that he appears to him in visions two times during the movie), Burt Reynolds, Sergeant Fury and the Howling Commandos. When Alabama dreams of traveling Clarence’s response is, “I’ve been in America my whole life, always wanted to know what TV looked like in other countries.” That’s a joke, but I don’t think it’s a judgment, or at least not a heavy-handed one.

I never really thought about it in previous viewings, but this time I felt like there was kind of a built-in critique of Clarence. Maybe it’s not conscious, maybe it is, maybe it’s Scott’s spin on the script, I don’t know. But Clarence, for all his fun and love for Alabama, does get them into this mess because of a dumb macho attitude. There’s no reason for him to go confront her pimp, Drexl (Gary Oldman, LEON). She even tells him not to. If they just leave town he’s not gonna come after her, and she doesn’t seem concerned about having left behind “her things” – what, some clothes, a toothbrush?

Clarence was okay with her being a call girl, but once he pictures that she had a pimp (a woman-beater, but he hasn’t done anything to her), it just drills into his ego and male possessiveness for some reason, and he decides he has to go insult the guy, which leads to having to kill him and another guy who looks like Doctor Dre from Yo! MTV Raps, and to accidentally stealing the mafia’s coke. He got her into this mess, and then he’s not there when James Gandolfini shows up at the hotel room to beat the shit out of her.

Right after Gandolfini punches her hard in the face it cuts to Clarence in his purple Cadillac, wearing his Elvis shades, going to get his fucking burgers, smiling about how awesome he is. It’s a brilliant cut because it could mean “Oh no, he has no idea she’s in trouble,” but I read it as “Clarence, you stupid fucking bastard. She’s taking that beating for you!” While this is happening it’s not so cute that Clarence approaches a total stranger at a burger stand to share his love for Newsweek‘s cover story on Elvis.

For her part, Alabama does refuse to give up the location of the cocaine. There’s no good reason to do this. They’re not in deep with some other party that’s gonna kill them for not having the drugs. They’re not in some kind of debt where they need the money from selling the drugs. They don’t even have some dream they’re trying to achieve using the money. And for all she knows Gandolfini will let her go if she gives him what he wants (although in retrospect probly not). I think Tarantino’s reason why she won’t tell him where the coke is is in the title of the movie. Clarence and Alabama are in this together and she’s not gonna fuck it up while her husband’s out buying fast food. The family is depending on her.

The face-off in the hotel room is one of many classic scenes in the movie, and the most brutal one. You’re so afraid of what he’s gonna do to her, and she obviously understands the trouble she’s in, but she jokes around and plays dumb. And he plays like he thinks it’s charming while you wait for the other “Stuck in the Middle With You” shoe to drop. When the time for stalling runs out she takes it like a man, then like a Final Girl. It starts to really seem like he’s gonna kill her and the movie’s gonna turn into Clarence’s revenge. But she’s desperate and resourceful and by the skin of her teeth and some very painful techniques she survives the encounter.

And when Clarence finds her and keeps telling her he’s sorry I figure he now realizes that there’s no time for the Newsweek discussions with strangers.

It’s endlessly entertaining because it’s like a parade of great characters, scenes and performances:

* Dennis Hopper as Clarence’s dad. We get the hint that he fucked up their family, he was an alcoholic, he’s sober and now he’s humbly accepted his penance as a security guard living alone in a trailer, hasn’t heard from his son in 3 years. When he tells Clarence to slow the fuck down he sort of speaks for the audience. I really like this guy, and when his trailer is invaded by mobsters he doesn’t give up his son (except by having the address pinned to his refrigerator, but he didn’t know what was gonna happen). The one thing is, even if he’s just trying to appeal to the racism of the Sicilian, he sure has no problem throwing that n-word out there along with the idea that it would be horrible to be descended from the Moors.

* And of course that’s one of the great scenes, the showdown between character actors. One little moment I love is when dad finishes telling his story about Clarence visiting and James Gandolfini looks to Walken, smiling, waiting to see what he’s gonna do. We haven’t been told this yet, but he’s an expert in lying and tells. Gandolfini is excited to hear from Walken whether that was a lie or not.

There are other great exchanged glances in the scene too. As Hopper is going through his history lesson Walken keeps looking around at his thugs, smiling like “Are you hearing this guy? Can you believe this?” Pretending to have a sense of humor about it.

* Michael Rapaport as Dick Ritchie, whose purpose is to know a guy from acting class who is the assistant to a big movie producer who might want to buy some cocaine. Like Arquette as Alabama, Rapaport as Dick has a very convincing dedication to Clarence. When Dick first answers the phone to hear “Hello baaaaaay-beh!” he says “Clarence? Is that you?” and sounds genuinely thrilled. So excited to hear from his buddy again. The poor guy.

* Brad Pitt as Floyd, Dick’s stoner roommate. He only has a few minutes of screen time, sitting on a couch smoking weed from a bear-shaped honey container, watching TV, always hilarious. The Judi-Dench-in-SHAKESPEARE-IN-LOVE of pothead characters.

* Saul Rubinek (DEATH WISH V) as the perfectly caricatured obnoxious Hollywood producer Lee Donowitz. He loves coke, talks on his cell phone while driving (more unusual in ’93), yells at people in traffic, but at times is almost likable. I love when his bodyguard is correctly angry that Clarence brought a gun to the meeting. Clarence says he’ll put it on the table if he wants, Lee thinks about it for a second and decides, “No, that won’t be necessary” and then scolds the bodyguard to “be nice.” Maybe his most human characteristic is his disdain for his ass-kissing assistant…

* …Bronson Pinchot as Elliot Blitzer. Such a perfectly written and acted douchebag weenie. When Clarence first meets him at an amusement park to discuss the deal he’s nervous about the whole thing, timid, and throws up on himself after going on a rollercoaster. But after he talks to his boss and knows the meeting is set up and it’s kinda out of his hands he suddenly starts acting large and in charge, telling everybody to shut up and making a speech: “here’s how it’s gonna work.” Then he gets busted for possession and intimidated into giving up his boss and wearing a wire, and he becomes way more of a coward than even before, to the point where he tries to appeal to the cops to let him go during a Mexican standoff. Like getting permission to leave class to go to the nurse. It’s such a cowardly act that Lee gets outraged and kicks off the bloodbath.

While the script feels Tarantino through-and-almost-through, Tony Scott’s directorial style is very different than his. The camerawork is slicker and more showy. The pace is probly faster. The music is more Hollywood. I don’t think Tarantino would’ve ever used an Aerosmith song, or the shitty MORTAL KOMBAT type electronical music that plays at Drexl’s house (what white pimp who thinks he’s Jamaican turns on music like that while watching THE MACK?) On the other hand it shares Tarantino’s knack for getting great performances from great non-headlining actors. It also shares some of his stable of actors: Chris Penn, Christopher Walken, Samuel L. Jackson.

I always heard that Tarantino had written this out of sequence, like PULP FICTION, and I didn’t see how that could improve it. But listening to Tarantino’s commentary track and hearing how it would’ve worked – you don’t know what happened at Drexl’s place until you hear Walken telling his version of it to Hopper – it does sound cool. Luckily it works fine as it is. And the original, bummer ending, included in rough form as a deleted scene, doesn’t work as well. Tarantino admits that although he was against it it does work better for Tony Scott’s version of the story. I do like that it has her acknowledging that Clarence’s greed got them into the whole mess, and being angry at him for it, then loving him anyway.

Trivial trivia: There’s a longer version of the Sonny Chiba triple feature scene where the movie ends and an usher comes in with a scary German Shepherd on a leash and yells at everybody to get out. That usher is a very young Jack Black. Would’ve been one of his first movies.

Speaking of TRUE ROMANCE dog trivia, I would like to note that Hopper’s character has a dog named Rommel, which was also the name of the dog in GARFIELD: A TAIL OF TWO KITTIES: RISE OF GARFIELD.

There’s another deleted scene that probly would’ve worked well if it had been left in – before Clarence, Alabama and Dick go inside for the drug deal Clarence suddenly stops and warns them that this is the last chance to back out. We know that Elliot is wearing a wire and the cops are nearby and therefore backing out would be the right decision. Out of the blue Clarence decides that it’s not worth the risk. Alabama supports him. Dick seems relieved. They turn around to leave.

Then, as fast as he had decided to back out, Clarence whips back around, backing out from backing out. Nah, he would never forgive himself if he didn’t try it. It’s a funny scene but I guess doesn’t have the same impact without the original ending. (although if they’d backed out they would’ve saved poor Dick’s life, plus Lee Donowitz and his bodyguards, who didn’t really deserve to die. And some cops, who are just doing their jobs and not doing anything wrong.)

I don’t like TRUE ROMANCE as much as the movies Tarantino has directed, but I like it a whole hell of alot. I’ve seen it several times over the years and it only gets better.


VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
This entry was posted on Monday, August 20th, 2012 at 2:05 am and is filed under Crime, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

43 Responses to “True Romance”

  1. Also worth mentioning; it’s Val Kilmer who plays Elvis.

    I like TRUE ROMANCE. I’m no big fan of Scott’s biggest hits, but TRUE ROMANCE, REVENGE, THE LAST BOY SCOUT and MAN ON FIRE are all great.

  2. I own the DIRECTOR’S CUT and love the commentary track on there by Tarantino. Primarily cause the fool rambles on every 10 minutes about how hyped he was that Scott was doing this because he loved REVENGE. Just another reminder of how much of a movie geek QT really is despite all his success as a filmatist.

  3. I spent ages trying to track down “A Better Tomorrow II” after this film. If for no other reason, this film deserves to be praised for introducing me to John Woo, even though I didn’t know it at the time.

  4. It’s an earnest love story. Tony didn’t want them to die at the end, not because he wanted to slap on a typical Hollywood ending, but because he wanted them to live and wanted love to win out. I’m a bit of a sap for a good love story, so that combined with the rich script and cast of thousands it became an instant classic in my book. It’s one of my all-time favorites, and was Ridley’s favorite movie of his brother’s work.

    A little side-note, but I do often wonder if Oliver would have made a similar movie with NATURAL BORN KILLERS, were it not for this because I heard originally he set out to make a more commercial action film with it at the beginning.

  5. Great script. Great movie.

    Few things, though: Dick Ritchie actually survives the shootout. He throws the cocaine suitcase in the air, and as everybody shoots at it he runs out the door and scrambles away down the hall, off to a career as a featured extra. I wonder if he’ll ever reappear in the Tarantino-verse.

    Also, Lee Donowitz is supposed to be the nephew of Donny The Bear Jew Donowitz from Inglorious Basterds.

    And in the True Romance endless roll call of great character actors, let’s not forget the squad of Mafia hitmen includes Kevin Corrigan, Frank Adonis, and Victor Argo….

  6. And the woman Clarence talking to in the opening of the movie is none other than Anna Levine, who is best known as the prostitute Clint & Co. avenge in UNFORGIVEN (also played a junkie in THE CROW). Look her up on IMDB, and you’ll find something quite shocking about her off the bat.

  7. I just can’t imagine an unhappy ending to this film. Maybe it’s how Tony Scott directs the film as flashy and fun, but a downbeat ending just wouldn’t work. Besides, just as a film has to earn a happy ending, movies also have to earn a sad ending. I don’t think the movie takes itself seriously enough for it to have tacked on a big death at the end. My favorite Tony Scott might be Crimson Tide. I may not have liked a lot of his later output, but he had talent. Just look at his films compared to Michael Bay’s. Scott had a measure of control over his chaos that Bay just doesn’t have.

  8. “I just can’t imagine an unhappy ending to this film. ” Then you should stay away from the German TV version with a 16 rating. Apart from lacking almost every act of violence, they also end the movie when it seems like Slater is dead. (Kinda like the afternoon version of THE FAST & THE FURIOUS, that ends with Diesel and Walker hearing the police sirens coming closer.)

  9. Man, what a great movie. I know it’s probably not as good as PULP or DOGS, but I watch it more often. Who knew that that flashy Tony Scott style would mesh so well with QT’s laidback meanderings? I remember the first time I saw it, that massacre at the end was one of the most violent things I’d ever seen. Seems fairly standard now, but at the time I thought it was quite shocking the way all these quirky, funny characters suddenly started slaughtering each other out of nowhere. I don’t think I’d have been able to handle the original non-happy ending after that mess, so I think the Love Conquers All version was the right call this time.

    Also, I think Patrica Arquette deserves some kind of All-Time Great Cleavage Award for her work in this one.

  10. The meshing of styles here probably got QT jobs doctoring stuff like CRIMSON TIDE and THE ROCK more than anything else. You can imagine Bruckheimer and Simpson seeing the potential for their own movies through what was accomplished here.

  11. The dopepushin´and pimpkillin´aside,Clarence Worley was the first character I watched in movies I could somewhat relate to. Which is why this movie is such a personal favourite. It also has so many great lines of dialogue and tons of great characters and other stuff its impossible to list here. Definetly one of my all-time top 10 if I had to make a list.

  12. I love this movie. Christian Slater, Elvis, Rasta Gary Oldman, Walken, Hopper. The Brad Pitt cameo was fun, too. Tarantino’s dialogue. Arquette. Okay, I know I’m just naming cast members, but it was a great cast, and lots of fun performances.

    One thing I’m actually kinda stoked about wrt the next Stallone flick is seeing Christian Slater back on the big screen.

  13. On the Slater/Arquette commentary track, there’s a hilariously awkward moment when the sex scene is on. It’s almost like they had forgot it was coming up as they are happily chatting away, and then the conversation becomes a little strained and Slater tries to joke his way through it. One of my favourite commentary moments ever.

    Great movie, damn shame we will not get any new Tony Scott films. His influence on the modern American action movie is, for better or worse, immeasurable.

  14. I confess I IMDB’d Anna Levine, but I don’t think I learned anything shocking.

  15. Grim Grinning Chris

    August 20th, 2012 at 7:57 am

    Michael,

    Not sure as I don’t see anything shocking in her bio either… Perhaps he is referring to the fact that she has obviously had so much work done that she is flat out unrecognizable as the same person now. Just YIKES!

  16. The Slater-Oldman exchange about “The Mack” is priceless.

  17. I was actually referring to her age. She’s nearly 60, and she looked no more than 25 when she did UNFORGIVEN.

  18. I love this bit from the Empire article Tony Scott on Tony Scott on how Scott got the True Romance script: During the shooting of The Last Boy Scout, Scott had been pestered by a ‘groupie’ who asked endless questions about, among other things, the correct use of smoke. At the end of the shoot he discovered the nerd’s name: Quentin Tarantino. QT then managed to get Scott to read a couple of scripts he had written…

    Tarantino is such a fan. I can imagine him stalking Brian De Palma.

  19. Anna Levine didn’t look old in The Crow or Bad Boys either. I guess she would be 39-40 in True Romance.

  20. Ghost – Man QT was really a determined motherfucker I don’t think I’d have the gull to keep on harassing any of my favorite directors let alone show them any of my scripts. Then again lack of that type of initiative is why I still just watch movies as opposed to make them.

  21. Ever notice the similarities between this and FEEDBACK? We happened to watch those 2 movies in a row. Wow. Two movies where (broad SPOILERS) a couple gets in trouble because the male stole drugs from the female’s ex-boss, the female ends up being tortured more than the male, and the male gets shot after learning the female is actually a prostitute. Wtf.

  22. This and Requiem for a Dream were the scripts that taught me how to write.

  23. Testing. Testing. For some reason none of my posts will go through on the Tony Scott thread, so I thought I’d try over here.

    As for True Romance, I like it so much that I don’t even mind it stealing Badlands’ music.

  24. Hey, it worked.

  25. Knox – I take that as homage since in many ways it’s an inverse of BADLANDS.

  26. Definitely an intentional homage by Hans. Ironic, since he would do possibly his best work with Malick a few years later for THE THIN RED LINE.

  27. I haven’t seen this yet (shame on me, I know) so I mostly skimmed this review

  28. Actually, the score to True Romance is an interpolation of a classic piece from the 1800s that Badlands also used. So yes, it was an homage, but it was more too.

  29. Wikipedia says: “The film’s score by Hans Zimmer is a theme based on Gassenhauer from Carl Orff’s Schulwerk.”

  30. I have never seen more than five minutes of this movie, but I watched the entirety of Destiny Turns on the Radio, another Tarantino-connected flick. Funny thing is that I can’t remember a damn thing from Destiny but I recall the entire five minutes of True Romance very well (it was the beginin of the beating scene).

  31. Does anyone know why the hell none of my posts will go through on the Tony Scott thread? Been trying since yesterday. Maybe it’s the movie gods trying to tell me something. Can’t figure out what, though.

    I’m just gonna say what I wanted to say over here. Seems fitting, since True Romance is his best work.

    Yeah, the brain tumor thing was a comfort. It makes his decision seem almost brave and noble. If he did do it because of some incurable condition, then I don’t blame the guy at all for going out the way he did. I almost admire him for it. I don’t think he left this world with any anger or misery. Seems like he just made his peace with it and did what he thought was best. I guess none of us will ever know unless we find ourselves in the same headspace some day.

    I do think he left a very noticeable mark on the world of action cinema. Even his failures were unique, sometimes glorious, go-for-broke failures. It’s sad we won’t get to see him turn Mark Millar’s Nemesis into a manic comic book action movie or see his take on The Warriors, but at the end of the day we movie fans have merely lost someone who entertained us. The real loss is only truly felt by his loved ones.

  32. I don’t know, for some reason they went into the spam folder.

  33. I’m pretty sure that using the same theme as the one in Badlands was meant as homage, but I also believe that once a movie stakes its claim on a peace of music, it can only ever belong to that movie.

    Kinda like when Faster used “Just Dropped In” and we all thought “Wait a sec. That one belongs to The Big Lebowski.”
    I feel the same way about Adagio For Strings. To me, it will always belong to The Elephant Man. Platoon came in years later and kinda abused it, in my opinion.

    Anyway, like I said, I don’t mind it in True Romance’s case. In fact, I really like it. It’s a part of its charm.

  34. Maybe the spam thing is a reflection on the quality of my posts. I’ll try to do better next time.

  35. I don’t know if I really see it as a critique of that bone-headed sense of masculinity because it all ends up enabling Clarence to live the fuckin’ dream, you know? While I don’t think it’s glorifying this sort of thing (the whole movie is kind of pillowed by its own sense of self-awareness–it kind of asks you to take in the absurdity of it all), it’s definitely kind of in love with it. It’s like the flip-side to Natural Born Killers in that it presents a really earnest love story of two kids who love their TV and their music and their movies and wanna live it, but they’re basically pretty much okay people unlike Mickey and Mallory. This is the one where Tarantino’s saying maybe it’s okay to be totally obsessed with this sort of thing because it’s going to pay off in the end; given that he was basically Clarence at the time he wrote it, the whole thing plays out as a fantasy of a struggling film-maker type. He seems so in love with these two that it’s hard to see him as really coming down too harshly on them.

    Also, it feels like Tarantino is trying to kind of reclaim a good-old-fashioned lovers-on-the-lam story, but he gives it a bit of a subversive happy ending unlike Badlands or Bonnie & Clyde. In some ways, it feels like a super sincere “this is how it should be” take on that whole nihilistic and grim movement.

    But anyway, I always liked how Scott brought some restraint to it. The first hour or so is pretty laid back, set down on the street-level of Detroit, just Clarence and Alabama doing shit. It’s full of conversations like a Tarantino movie. But holy shit, once they go to L.A., it becomes this big, boisterous Tony Scott movie, complete with Aerosmith and violence and style, almost as if these two have stepped into a hyper-real world like the ones they’ve idolized. Kind of fits into the whole living the dream thing. I never gave Scott enough credit for it cause I always considered it more of a Tarantino film, but now I see how it brilliantly and consciously becomes a Tony Scott movie, and it rules. Great review as always, by the way.

  36. Knox: With certain pieces of music and how iconic they are to the movie, that’s definitely true. WATCHMEN abused this twice by typically using “Flight Of The Valkyries” and using another piece (couldn’t name it for you) at the end that was used in a very similar way THE DEPARTED did just a few years earlier. However, it’s use of Hendrix’s “All Along The Watchtower” makes up for it so there’s that.

  37. There’s also Philip Glass’ Koyaanisqatsi music. It was used extremely well, but again, I associate it too much with its original use in the documentary.

  38. I’m not positive about this, but I think I might have been in the audience for the last ever public cinema screening for a Tony Scott film when my ladyfriend insisted we see TRUE ROMANCE at ActionFest this past April.

    Here’s what I wrote at the time, according to
    http://outlawvern.com/2012/04/03/after-dark-action-announces-theatrical-date-for-dragon-eyes-and-4-others/#comment-2598921 :

    Got to see Gina Carano up close as she introduced her favorite action movie, TRUE ROMANCE.

    My woman’s reaction: “I would go gay for her.”

    *******************

    Fucking great movie, by the way, in case y’all forgot.

  39. *last ever screening while he was alive

    That’s the important part that makes it historic in my opinion.

  40. The print used at the screening of it at the Q&A for Quentin and Richard Kelly was from Q’s personal archive. It would be awesome if Warners would put together a 20th anniversary release for it next year using that print (was the unrated version I believe), that also acted as a tribute to Tony via interviews and commentaries, etc. That Q&A is on iTunes right now, an interesting look into Tony’s process through them. Also interesting that the 90210 thing in DOMINO was going to be more dream-like and in it’s own way a tribute to how Elvis was used in TRUE ROMANCE.

  41. This movie has so many ridiculously good parts, it hurts. Like, I don’t need to do cardio at the gym — I can just watch Alabama realize she’s in love with Clarence and my heart gets all swelled up like the Grinch after he decides to un-steal Christmas.

    Tony Scott left us a year ago today. It was nice of him to help make a bunch of good-to-great movies before he committed suicide.

  42. I watched THE HUNGER for the first time last week, it was on TCM and reminded me that it has almost been a year. It has some good ideas (and probably the first graphic lesbian scene of it’s kind in a Hollywood film) but is clearly mangled by studio interference (the ending of course), and not enough Bowie who I’m probably as big a fan of his acting as his music.

    I think a big part of what makes TRUE ROMANCE such a good movie to me, is that it’s a clear case of the director being so invested himself into something he hadn’t written. QT’s original ending was way more downbeat but Tony only wanted to do it if there was a happy ending, not as an easy way out but he believed in them so much.

  43. I love this movie, especially the small Samuel Jackson part “I eat the pussy , the butt, every damn thing”. Gary Oldman’s role is fucking good too.

Leave a Reply





XHTML: You can use: <a href="" title=""> <img src=""> <blockquote cite=""> <cite> <code> <b> <i> <strike> <em> <strong>