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Before Vincent Vega, prior to the foot fetish, Jackie Brown, The Bride, the Basterds and Django, and all those non-linear storylines, there was, in this positive and humble critics, the greatest Tarantino hero of all, an Elvis die-hard with a hard-on for Sonny Chiba goes by the name of Clarence Worley.
Portrayed by Christian Slater before his career head south, he was a fanboy even before fanboys were cool, a guy who was the ideal of what so many of us dreamed of: A gun-wielding, rascal version High Fidelity’s Rob Gordon, who won the prostitute’s love not with a copiousness of money and charisma – as Richard Gere played in Pretty Woman – but with a heavenly gift of kung-fu cinema and pie. Indeed, for the majority, Clarence – Quentin Tarantino’s own teenage wish-satisfaction dream come to cinematic life – was an idealized version of ourselves, and his wife, Alabama Whitman (Patricia Arquette), was the woman we all desired to make love with on top of a stack of phonebooks in a telephone booth on the freeway side.
True Romance full movie 1993 is Tarantino’s unique contribution to romantic stories, one of the few romantic movies you’ll ever find that shows a Mexican stand-off, the Mafia, a pimp, and a suitcase filled with drugs. Initially written non-linearly and in three acts, Tony Scott astonishingly took Quentin Tarantino’s notes and straightened it out, beginning in a bar, where Clarence gives one of those Tarantino-esque speeches about what a “pretty man” Elvis was, how all Elvis dreamed of was “live fast, die young, and leave a good looking corpse”. “I always said,” says Clarence, “if I had to fuck a guy, I’d fuck Elvis”.
After being rejected his offer to spend the evening seeing a kung-fu triple feature by a blonde, Clarence goes off by himself, where he encounters Alabama, who sits down behind him. Later, she makes one of the sweetest propositions in American cinema: “Would you like to go get some pie with me?” The two immediately move from a diner to Clarence’s room, and by the next morning, Alabama tells the truth, confessing that she has recently been a call-girl and was paid to meet Clarence in the theater, but then she’s crazily in love with him. Marriage and tattoos soon happen, and a happily-ever-after seems all but certain.
The catch? She has to extract herself from her pimp, Drexl (Gary Oldman), an abusive hoodlum who believes he’s black. The Elvis of Clarence’s fantasy (Val Kilmer) persuades Clarence to kill Drexl, and during the mess of blood, breasts, bullets, and exploding testicles (“You must have thought it was White-Boy Day”) Clarence unintentionally walks away with the Mafia’s cocaine-full suitcase.
A living hell, in the form of a Detroit mob, chases the jolly couple to L.A., where Clarence attempts to unload his drugs onto a Hollywood producer well-known for his Vietnam movie: Coming Home In a Body Bag. After the following assistant (Bronson Pinchot) gets caught with a face-full of drugs, the police gets involved, and it all leads to one of the greatest, whiz-bangiest standoffs ever put to cinema: Fifteen men holding multiple size guns and spraying bullets like they’re watering plants. The bullet holes are countless, and as well as the blood.
But under the ultraviolent, there are some hilariously badass characters, the coolest of them is Floyd (Brad Pitt, in a scene-stealing amazing cameo), an addicted pothead who, when dealt with a room full of guns, offers a bowl made out of a plastic Honey Bear. Michael Rappaport is amazing as a struggling actor longing to break-through with a limitation on a “T.J. Hooker” recreation, while Tom Sizemore and Chris Penn, as cops, ridiculously listen in on the wire, practically cheering for Clarence to take out their CI. Sam Jackson even has a minor, but memorable spot, as a drug dealer.
But the sequence between Dennis Hopper (Clarence’s Dad) and Christopher Walken (the mob’s lawyer) challengess even the Pacino/DeNiro trade in Heat – an incredibly intense scene, climaxing when Walken unloads his bullets into Hopper and calmly confesses: “I haven’t killed anybody since 1984”.Tony Scott hasn’t always showed the most talent behind the cam. He’s a solely action-thriller director with a passion for quick editing styles and loads of camera movement.
But for True Romance full movie 1993, that made him the nearly flawless director, one who can shoot an incredible action scene but doesn’t step all over the source elements. And that’s what’s so old-fashioned-refreshing about True Romance full movie: It had both Tarantino’s splendid dialogue and his exceptionally interestingly weird characters (credit goes to Roger Avary as well), but it’s not sunk beneath his often overly adorable, ultra-referential style of directing or his power to show off.
Tony Scott made a Tarantino movie the world could adore. True Romance full movie 1993 nerd within me loves Tarantino, but the part of me who just wants a normal Saturday afternoon action pic focused on a killer love story appreciates Tony Scott for what he attempted with True Romance.
In fact, although everyone involved denies it, it was allegedly studio self-interests that brought the ending we got, instead of the one that Tarantino first wrote. It’s one of the few times that I’m actually delighted commercial interests won, because I don’t think I could’ve stood Tarantino’s romantic-tragedy mood-killer ending.
Above anything, True Romance full movie 1993 was a love story, and the romantic side in me wants a movie – even one with as many deaths by gunshot as this one – where true love is above all, and the couple lives happily ever after, on a beach, where pie is served non-stop. Like Alabama says: “That’s the way romance is. Usually, that’s the way it goes, but every once in a while, it goes the other way too.”