True Romance:A retrospective of Quintin Tarantino’s real second film project

True Romance is a film that is fun to watch and well made, yet resigned to the mainstream sidelines. The definition of a cult classic, being a box office failure upon its release. To people who have seen it and continue to champion it, the characters of Clarence and Alabama in this Bonny and Clyde style caper are role models for what the basis of a romantic relationship should be.
The fact that Alabama was a call girl, only doing her job, when approaching the unassuming Clarence watching a Sonny Chiba Kung Fu film, is inconsequential to Clarence. What matters to him is that they met at all. The fact Clarence in a bout of gung-ho mascalinity, kills Alabama’s former pimp, and accidentally steals a suitcase of cocaine from the mob is inconsequential to Alabama. What matters to her is the gesture, in fact she finds it romantic
Clarence and Alabama do not expect each other to be perfect, and with self awareness comes the ability to forgive the flaws of other people. We are our own devils, but no one is beyond being loved.
As the story continues to get darker, our two heroes relationship grows stronger. True Romance says one can find love in the space of hours, get married the next day and live happy ever after. The real world increasingly says one will find love, and get married later, but it will all eventually end in tears and a day in court over who gets the dog.
This dichotomy is always in the back of one’s mind while watching something like True Romance. The film’s confidence in the strength of relationships can come across as naive to the likes of me. But it turns out that that the films tone was a mistake of sorts.
Quintin Tarantino had just broken into the industry at the beginning of the nineties, True Romance was the first script he ever finished, which he proceeded to sell to the studios. The movie we got was directed by the late Tony Scott who saw the word ‘romance’ and ignored the word ‘true’ resulting in the super upbeat tone permeated by what would become the Tarantino filmic style of relatable, witty dialogue and absurd cinematic violence.
When you listen to the various interviews Q.T gave concerning True Romance, a different movie comes to light. A film that had a Pulp Fiction style Non-linear narrative and a much darker characters complete with a different ending. Instead of Both characters escaping to mexico with the cash and the wonderful man-tear inducing final monologue, it would have come to light that Alabama was only using Clarence. She would have fucked him over and left for mexico alone with the cash.
In a lot of ways the character of Clarence is a caricature version of Q.T. An introverted pop culture enthusiast working in a store selling the objects of many a nerd’s infatuation, with no close family and little money. Q.T knows that if suddenly your dream girl spills their popcorn all over you and you proceed to spend the night hanging out with her like you’ve known each other forever, then it has to be too good to be true. The young Q.T knew that she would probably leave you dying on the floor rather than pick you up and patch up your eye wound with an awesome eyepatch.
I feel some of this pessimistic attitude at times, and I think it affects a specific type of early twenties male. If Q.T had directed the film as originally intended I would have been forced to agree with the more melancholic depiction of the reality of having personal relationships with other humans. That reality being that there will always be a conflict of interest between two people, and then a betrayal of some kind, a classic mean spirited ‘to have loved and lost’ narrative.
To someone who can read the language of film, True Romance flip flops between speaking perfect Tarantino and perfect Tony Scott with long intervals where the film speaks the broken hybrid language of both. This lead Gene Siskel and Roger Ebert to write off the film as Jumbled and thrown together, back in the nineties. However, this holy union is always consentual and positive, unlike “Natural born killers” with which Q.T ended up claiming his script for the film was bastardised by the director.
Tarantino saw the different ending for True Romance and conceded that it was better, for the film that had ended up being made. Tarantino had perhaps escaped his pessimistic tendencies when he found professional fulfillment, so why can’t his theoretical past self find romantic fulfillment also?
Even with my bias towards the infectious style of Tarantino, I am ultimately glad to have experienced the roller coaster ride that is the Tony Scott version. Scott was a very visual director and Q.T’s wonderful script and character dialogue is the skeleton upon which Tony Scott builds the visuals, the giant chain lamp in Dreskyl’s brothel is pure Tony Scott brand cinema, how is something that looks so silly presented so threateningly? Tony Scott can just do that.
True romance is not a light hearted film in truth, people die, sometimes good people die, all so our heroes can find their own happiness. However there is something forever charming about a film that starts in downtrodden Detroit and ends on a Mexican beach topping off an ultimately positive tale about how love at first sight for two dirt poor individuals might not end in tragedy, and instead with True Romance.
Thanks for reading.
 Peter Allen.

Brief history of Paris Saint-Germain FC.

Paris Saint Germain or PSG for short, has finally reached the big deal status reserved for teams that beat champions league stalwarts such as Barcelona FC. The road has been long, since the clubs takeover by an oil rich Qatari consortium in 2011.

But what is the history of this French Ligue 1 side? It has been everywhere on the success spectrum, relegation and promotion,to being one of two french clubs to ever have won a European title (the other being Olympique de marseille) As regard to the number of trophies won, PSG is the most successful French club, with 31 titles in its history including 31 titles including; 6 Ligue 1 titles, 10 Coupes de France, 6 Coupes de Ligue, 6 Trophees Des Champions and one Ligue 2 title. All this in addition to a UEFA cup winners cup and UEFA Intertoto cup. Their club ground is called the ‘Parc de Princes’ with a capacity of 48,583.


All of these credentials means the club is the second most supported in France after Marseille, with which PSG have an arch rivalry. A hyper competitive derby known as “Le Classique” with Marseille occurs every year. However the club is a fairly recent creation with a merger of two clubs, Paris Fc and Stade Saint-Germain FC in 1970, creating the large club we have today.

Being a French club, red, white and blue are the primary club colours, often making an appearance on the club kit and crest. The crest usually has an Eiffel Tower symbol and a French lily in addition to its colour code.

Club fan chants include “Ici c’est Paris” or “Here is Paris” and “Paris est Magnifique” or “Paris is magic”. The picture below gives you a taste of the passion of PSG fans.


The first team has a large mix of nationalities playing in it, due to the club’s vast buying power. All high class players, an example being Angel De Maria of Argentina. The teams current manager is the very capable Unai Emery.

The point of this piece was to give the average layman a crash course on the story of PSG. Should the club’s star continue to rise in international football. Thanks for reading.

Peter Allen.


Taxi Driver: A retrospective of the 1970’s cinema classic.

The sociopath is often times a very compelling character in fiction. However it is almost always a destructive mindset in real life. However, nowadays we have safety nets with which extreme cases can be identified and hopefully assisted with their condition. However at the time and setting of Taxi Driver (1970’s New York), acquired mental conditions such as PTSD (post traumatic stress disorder) were only recently getting attention and medical research due to veterans of the war in Vietnam coming home displaying symptoms, one such Vietnam veteran being Travis Bickle (Robert De Niro).

Travis has clearly been through traumatic experiences as this fantastically intricate film shows us, his upper torso is disfigured and he cannot sleep at night. His honourable discharge coupled with his injury suggests he faced heavy combat at least once, and he has clear ability with firearms. He was a soldier, but like so many others, he had to re-adjust to civilian life, so now he is a taxi driver.

Credit: variety

A side character states to Travis that you are what you do, but it seems you can take the man away from Saigon, but not Saigon out of the man. Travis cannot interact with other people properly. This was a well documented problem with how Americans treated their fighting men coming back from the war, the shift to liberalism, at the time, drove the population to treat the veterans unfairly, somehow blaming them for for unethical military policy in Vietnam. Disenfranchisement with the America they came back to was par for the course for many veterans returning home to a seemingly thankless American public.

So, the movie shows his attempts at civilian life, he charms a woman to come on a date with him in a rather awkward fashion. He does what he can to tell her what she might want to hear, to like and support the same things. However he has been away a long time, he admits he has no great knowledge of anything. So he takes her to a cinema that shows porno movies, the few avenues of entertainment that would have been found in the service. This is too much for her so she leaves, Travis can’t interpret what went wrong and pursues her later, being turned away once again.


This is where the psychosis begins to show, literally even. Martin Scorsese and his editor,in a stroke of genius, set the president for how psychosis would later be portrayed in the visual mediums. They use an editing trick where they loop footage back and forward for a second or two, with some kind of sharp sound effect to accompany it. A look at the character’s warped perception of what is happening. A nod to the acting brilliance of Robert De Niro is necessary at this point, he delivers a truly damaged character with mannerisms that reflects the mental state of Travis perfectly.

Travis thinks, with no malicious intent, that women are objects that need to be saved from the filth he sees in every alleyway and at each street corner. So he rejects civilian life again, throws on his iconic marine corps jacket, buys a bevy of handguns from a traveling salesman and sets to work preparing for his new role as a vigilante.

The film makes a shift in tone from here on in, up to this point the film has been stifling the watcher with the uncomfortable character that is Travis, I sympathise with him deeply, but his life and his interaction with the world around him is always off putting. The lighting is almost always dark and the cinematographer lingers on silences and distressing images, helping to keep my stomach churning.

The tonal shift announces itself, as Scorsese films often do, with a explosive outburst of violence. Travis shoots a man who happens to be robbing the store he frequents. This is somewhat of a justifiable killing if you are that way inclined, but is Travis a hero? Travis failed a hooker who earlier tried to get away from her pimp in his taxi once before, he must track her down so he can atone for his earlier inaction.

And that he does, pays her for her service and she takes him to a nearby motel. However, Travis has no interest in the sex that he paid for, its questionable if he knows what emotional function sex serves at all. He thinks this young woman needs to be rescued from evil men. She insists she does not need saving, her employers are shown to be rather pleasant, for criminals. But the vitriolic disdain for everyone, even the hooker he wants to ‘save’, manifests itself further into his delusional new ego as a vigilante. There will be blood.


So, he kills the pimps in a mighty tension-releasing bout of gunpowder and adrenaline fueled violence, with the poor young woman bearing witness to it all. In the end he lies wounded as the police crowd in, shocked at what lies before them.

Travis survives, somehow. Newspaper clippings on Travis’s apartment wall proclaim him a hero, surviving his mortal wounds. A letter from the young woman’s parents thanks him for saving their child, with no excerpt of how the young woman feels about all this. I got an impression she is not necessarily better off now, she is still trapped, but in a more socially acceptable sort of way.

Socially acceptable, what does that mean anyways? Travis goes back to his civilian job, his vapid friends. The woman he was infatuated with earlier comes back to him, but he flips her off. Perhaps she was a figment of her imagination so he could continue his paranoid viewpoint of people, perhaps the whole film was a fantasy played out within his damaged mind.

When he loses the ability to interpret reality, and his empathy is lost, can anything the psychopathic Travis says or does be taken at face value? Am I in anyway like Travis? Is my moral compass pointed in the right direction? Is my sense of righteousness tainted by contempt?

I believe there is a bit of Travis in all of us, and that is why I think Taxi Driver is such compelling viewing. It lets us indulge in our least civil thoughts. In any case, this is one of the pinnacles of the silver age of cinema, a must see. Thank you for reading.

credit:Waxwork RecordsPeter Allen.