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Review: “True Romance” (1993)

“True Romance” has been called a fantasy, a violent, sexy fantasy. But let’s ix-nay P.C. talk and call the film what it really is: a violent, sexy teen boy’s wet dream. (Was it one from Quentin Tarantino’s personal collection? Don’t put it past him.) Not that there’s anything wrong with that, specifically if said dream is as action-packed and overstuffed with talent as “True Romance” is. Plus, there’s a flippant, postmodern cleverness to the script, which requires a character to say, while whipping his purple Cadillac into reverse in traffic, “We now return to ‘Bullit’ already in progress.”

That character is Clarence Worley (Christian Slater), an amiable guy who works in a Michigan comic book store, loves kung fu movies and waxes philosophic about Elvis. (“True Romance” begins with a conversation, this time about “Jailhouse Rock” showcasing the true essence of rockabilly, and Val Kilmer steps in as Clarence’s Guardian Elvis.) Clarence, like so many men in Tarantino’s movies, is a regular guy catapulted into extraordinary circumstances. What’s intriguing is that in every film the protagonists react differently to these gamechangers. In “True Romance,” it’s a chatty blonde named Alabama (Patricia Arquette) who upends Clarence’s life. They meet at a Sonny Chiba filmfest, there’s a shared moment over pie and soon they’re back at his place professing love. The trouble is that Alabama’s a prostitute — only four days in — with a pimp, Drexl (Gary Oldman) as delusional as he is sadistic. Oldman, barely recognizable in dreads, has a blast but doesn’t skimp on the sadism; Drexl is one scary hustler, even creepier than Harvey Keitel in “Taxi Driver.”

Since Clarence has been waiting his whole life for a twist like this, he seizes the opportunity to defend Alabama’s honor in a gleefully bloody fashion, a choice that leads to all manner of complications — including his accidental possession of a suitcase jammed with blow — that must be seen to be believed. Slater takes to the part with ease, glossing over Clarence’s good looks and getting right at his desire to be someone’s action hero. And that tango with Drexl provides him with plenty of opportunities. Into his quiet life come: a mafioso named Vincenzo Coccotti (Christopher Walken, witty perfection); a dealer missing his suitcase of coke (the always-intimidating James Gandolfini); Clarence’s estranged father Clifford (Dennis Hopper); Lee Donowitz (Saul Rubinek), a movie producer looking to buy the coke cheap and flip it; Lee’s squeamish assistant (Bronson Pinchot); and some cops (Tom Sizemore, Chris Penn) bent on busting up that deal. Mayhem abounds, and with more than a few scenes involving grisly violence (that Arquette, she can handle herself with a toilet seat).

What with all this bloodshed, energy and colorful types, “True Romance” has all the trappings of a zippy Tarantino trip. Script-wise, it is, but where the film falters is in its direction. Action man Tony Scott’s in control of this venture, and that’s not necessarily a good thing. There seems to be a sizable disconnect between the world Tarantino has designed and the way Scott presents that world. The action, designed with panache and scripted for überdark comedy, is played straight, with none of the sequences showing particular flair. Particularly during the third-act shootout/bloodbath, the obvious precursor to the finale of “Reservoir Dogs,” Scott seems content to stick to the sidewalk. “True Romance” suffers for it. A ballsy story like this deserves an Evel Knievel calling the shots. Sigh. Even Tarantino was once a starving artist dependent on play-it-safe established types, I suppose.

Leave it to Tarantino, though, to write a movie that rises above unimaginative direction. The who’s-who in 1990s cast — Samuel L. Jackson and Brad Pitt have cameos — also works like a dream, with Hopper accessing his subtle side (he has one?), Oldman devouring scenery and Walken stealing the show with a tête-à-tête (“I’m the Antichrist. You got me in a vendetta kind of mood,” he tells Hopper). And while feminist critics could have a field day with Alabama, somehow I don’t see her as a shrinking violet. She’s misguided, a little moony, but she’s tough and smart, an able Bonnie to Slater’s Clyde. And, besides, if you’re yearning for a megadose of reality, kindly refer back to Sentence No. 1.

Grade: B+