Quentin Tarantino’s masterpiece of postmodern pulp cinema
burst off the screen in 1994. His second Directorial film, it was made for just
$8 million but went on to take over $200 million at the box office becoming one
of the most financially successful independent films of all time and has since
become one of the most critically successful films as well. Nominated for seven
Oscars and winning one for Best Original Screenplay, Pulp Fiction has found its place in cinema history as one of the
greatest cult films of all time and reinvigorated not only the fortunes of some
of its cast but made Hollywood sit up and take notice of small time,
independent cinema.
Tarantino often makes use of a non linear storyline but here
it is not so much non linear as circular. Pulp
Fiction features three interconnecting storylines which are sometimes told
from different angles and always out of sequence. The effect is that it builds
the story as the film progresses in quite a different way to a traditional
narrative but one is never lost of confused. The script is amongst the best if
not the best I’ve ever seen and is dense, meandering and full of great dialogue
and pop culture references. It is a joy to listen to and the tremendous cast
deliver each line with great aplomb.
Pulp Fiction
begins in the same way as Tarantino’s Directorial debut Reservoir Dogs. Both movies open with a conversation in a diner.
Immediately the dialogue grabs you and takes you with it at gun point. The
scene features Tim Roth, alumni of the Director’s first film, discussing
robbing banks and liquor stores with his girlfriend. Roth, an Englishman, is
given some terrific dialogue which despite being penned by an American is spot
on. The opening credits soon follow and also adhere to a similar theme as Reservoir Dogs. Dick Dale’s Misirlou plays over the titles and the
song has since become synonymous with the film.
Pulp Fiction is
set in L.A. and
focuses on the operation of crime boss Marsellus Wallace (Ving Rhames). Wallace
takes a back seat through most of the movie but gets his moment around
two-thirds in. The central characters are two of Wallace’s gangster employees
Vincent Vega (John Travolta) and Jules (Samuel L. Jackson). The two of them are
seen deep in conversation throughout the film, discussing everything from the
significance of a foot massage to why the French don’t use the term quarter
pounder to quasi-religious and spiritual experiences. Jackson’s dialogue especially is incredibly
well written and I could listen to him articulate it all day. The character and
performance have since become iconic. Vega is less charismatic but more laid
back than his partner. He has a temper though and is quick to look for
confrontation. The character rescued actor John Travolta from a career threatening
downturn and bought him back into the limelight. Both actors received Academy
Award nominations and Jackson
won a BAFTA. A third actor received an Oscar nomination and that was Uma
Thurman. Her nomination is more of a surprise to me than the others but her
performances is nonetheless very good. Thurman was used for much of the
promotional material despite being a secondary character and like so much else;
the poster of her lying on a bed has become an iconic image.
Bruce Willis rounds off a cast of A-List stars as Butch the
boxer. Butch is ordered to take a dive by Marsellus Wallace but instead wins
the fight in a more than convincing manner before going on the run with his
girlfriend Fabienne (Maria de Medeiros). Butch and Fabienne’s dialogue and arc
are just as great as the rest of the story and their plight feels incredibly
realistic. Willis was coming off a string of box office failures but his
participation helped to beef up the budget to $8 million. He went on to make
several million dollars from the movie with subsequent participation rights. In
addition to the central characters there are notable cameos from Christopher
Walken in a touching but hilarious scene featuring a watch and Harvey Keitel as
Wolf, a fixer who gets Jules and Vincent out of a sticky situation. Tarantino
himself gets a sizeable cameo as usual.
One of my favourite parts of Pulp Fiction is seeing Vincent walk through Jack Rabbit Slims, a
diner which feels like looking inside Tarantino’s brain. It has a 50s vibe and
has movie star waiters and waitresses in addition to an Elvis impersonator
singing and booths crafted from old cars. I’d give anything to have a play in
that set. The restaurant was one of the most expensive sets constructed for the
film, coming in at $150,000. The money is well spent though as Tarantino
creates a pop culture Valhalla which plays
host to another iconic scene, the Twist competition in which Vince and Mia
partake. Picking favourite scenes from Pulp
Fiction though is like picking a favourite finger. They’re all just as
welcome and vital as each other. Other highlights though include the extended
scene in which Wolf ‘cleans up’ and Jules’ verse reciting shooting.
As well as being characteristically violent, Pulp Fiction is also really funny. Much
of the humour comes from the violence such as Jules’ and Vincent’s near miss,
the Bonnie situation and the toilet/pop tart shooting. Much of the action
actually descends from Vincent’s bowels, if I can put it like that. Vega is
seen to use the toilet three times and each time he is on the throne something
major happens. A Tarantino-esque device of an accident driving the plot is also
apparent. In Reservoir Dogs the
botched robbery drives the film; here it is partly an accident in a car. Hiding
something from the audience is another device that Tarantino employs over and
over again. Pulp Fiction’s golden
briefcase is perhaps the most famous example of this.
It is impossible to talk about a Tarantino film without
mentioning the soundtrack. Pulp Fiction’s
is amongst his best and employs the usual blend of famous and obscure tracks
pulled from various genres. Here Tarantino makes use of surf-rock, soul, pop
and rock and roll to form the backdrop to a beautifully shot movie. Pulp Fiction’s bright colour gives it a
Technicolor feel which kind of makes its ‘modern day’ setting unimportant. In a
way the film is ubiquitous and feels both modern and dated. Despite being
contained in a small part of L.A.
the film feels like an epic which is in part down to its visual style but also
its run time. At two and a half hours, Pulp
Fiction is looonng (a bit like this review) but unlike some of the Director’s later work it doesn’t
feel it and the length is well judged.
I don’t have a bad word to say about Pulp Fiction and it is probably my favourite Tarantino (although I
haven’t seen Jackie Brown for a
while, my traditional favourite). It is an example of masterful detailed
storytelling, great acting, wonderful design and is unsurprisingly one of the
best regarded films in recent history.
10/10
Titbits
- Tarantino wrote the part of Pumpkin for Tim Roth but the studio wished to cast Christian Slater or Johnny Depp. Tarantino got his way.
- Samuel L. Jackson's Bible verse is mostly made up and doesn't feature anywhere in the magic book.
- Roger Avery co-wrote the script with Tarantino but was given a 'story by' credit instead of 'written by' in order to further publicise Tarantino's role. Avery, who also co-wrote Reservoir Dogs and True Romance was recently released from prison following a conviction for manslaughter.
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