In Detroit, a lonely pop culture geek marries a call girl, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine, the Mob, track them down in an attempt to reclaim it.
During the era of Prohibition in the United States, Federal Agent Eliot Ness sets out to stop ruthless Chicago gangster Al Capone and, because of rampant corruption, assembles a small, hand-picked team to help him.
Brian De Palma
Robert De Niro
In Detroit, Clarence Worley goes to the movie theater alone on the day of his birthday to watch some movies. The gorgeous Alabama Whitman accidentally drops her popcorn on Clarence and they watch the movie together. Later they go to a diner for pie, and end up having a one night stand. In the morning, Alabama confesses that she is a call-girl hired to spend the night with him, but she has fallen in love with him. In the morning they get married and Clarence goes to the club where she worked to bring her some clothes. However, her pimp Drexl Spivey and his partner beat up Clarence and he reacts by killing them both. Clarence asks for Alabama's suitcase with her clothes and the other girls mistakenly give another one with cocaine. When Clarence discovers the mistake, he decides to travel with Alabama to the house of his friend, the aspiring actor Dick Ritchie, to sell the drug and travel to Mexico. He visits his father Clifford Worley and gives his address to him. But the Sicilian Mafia...Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The comic book that Clarence shows Alabama is "Sgt. Fury and His Howling Commandos" #18. In this issue, Nick has gotten a ring for his sweetheart (Pamela Hawley), that he keeps on a chain around his neck. Later in the story, he gets in a fight with a Nazi, and the ring falls overboard, but Fury dives into the ocean to retrieve it. What Clarence doesn't tell Alabama, is that when Fury returns to give the ring to his love, he finds she's been killed. On a side note, Samuel L. Jackson (who appears as Big Don) played Fury in the Marvel Cinematic Universe. See more »
The comic book that Clarence shows Alabama is "Sleepwalker #8," and has nothing to do with a ring, a ship, or a man named Nick, which is the plot that Clarence explains to Alabama. See more »
In "Jailhouse Rock" he was everything rockabilly's about. I mean, he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothing except rockin' and rollin', living fast, dying young and leaving a good-looking corpse.
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The syndicated US television version has been drastically cut, removing all profanities to the point of absurdity, removing portions of some scenes, and whole scenes as well. Among the cut material: Big Don's murder at the hands of Drexl; pieces of dialogue between Clarence and Drexl and between Clarence and Elliot in the amusement park; Elliot's interrogation by Nicholson and Dimes; and the fight between Alabama and Virgil (when she sets him on fire, the camera zooms on the spray coming from the nozzle). The scene where Clarence murders Drexl is also cut (we don't see him shooting Drexl between the legs.) See more »
Enough memorable scenes and talented stars to fuel a half a dozen blockbusters.
With at least 12 `starring actors' in character and supporting rolls, half of them legends or mega stars; this Tarantino tale defies a short review. The different levels on which this movie works are impressive. As a love story we begin to believe that the quirky `loser' couple is unconditionally bound together. As a pseudo `film noir' we begin to care about the fate of the central characters. In the suspense/thriller/crime drama mode there are plenty twists and turns to push us to the edge and pull us back just in time. The action scenes are deliciously violent and unlike most other films, this one gives us pinches of humor sprinkled in amidst the mayhem. Even `the King' alter ego is woven in credibly enough to improve our understanding of the Clarence Worley character.
The plot, albeit original, fresh and mesmerizing, seems somehow secondary to the characters and the characterizations. Any of several rolls could have been performed over the top by what seemed to be an ensemble cast. But director Scott lets the talent go just far enough. Even the remainder of the supporting cast is wonderful; Saul Rubinek in particular does a terrific job as the puffed-up/ego-feeding movie producer. Hollywood missed giving this movie and its cast proper recognition.
With enough memorable scenes and talented stars to fuel a half a dozen blockbusters, True Romance gives us the `best bang for our buck' in years. The Walken/Hopper scene alone is worth the `price of admission' not to mention the Gandolfini/Arquette and Slater/Oldman match ups. This can only be described as a `wonderfully wicked movie' for its tantalizing content, smart dialog and toothsome violence.
Put the kiddies to bed, be prepared for rough language, adult themes and graphic violence and enjoy a `not for the faint of heart' masterpiece.
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