pulp fiction, All You Want To Know & Watch About A Great Movie
The lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of violence and redemption.
Pulp Fiction is a 1994 American black comedy crime film written and directed by Quentin Tarantino, who conceived it with Roger Avary. Starring John Travolta, Samuel L. Jackson, Bruce Willis, Tim Roth, Ving Rhames, and Uma Thurman, it tells several stories of crime in Los Angeles. The title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue.
Tarantino wrote Pulp Fiction in 1992 and 1993, incorporating scenes that Avary originally wrote for True Romance (1993). Its plot occurs out of chronological order. The film is also self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of “pulp”.
Considerable screen time is devoted to monologues and casual conversations with eclectic dialogue revealing each character’s perspectives on several subjects, and the film features an ironic combination of humor and strong violence. TriStar Pictures reportedly turned down the script as “too demented”. Then Miramax co-chairman Harvey Weinstein was enthralled, however, and the film became the first that Miramax fully financed.
Pulp Fiction won the Palme d’Or at the 1994 Cannes Film Festival, and was screened to much critical acclaim. It was nominated for seven awards at the 67th Academy Awards, including Best Picture, and won Best Original Screenplay; it earned Travolta, Jackson, and Thurman Academy Award nominations and boosted their careers. Its development, marketing, distribution, and profitability had a sweeping effect on independent cinema.
Pulp Fiction is widely regarded as Tarantino’s masterpiece, with particular praise for its screenwriting. The self-reflexivity, unconventional structure, and extensive homage and pastiche have led critics to describe it as a touchstone of postmodern film. It is often considered a cultural watershed, influencing films and other media that adopted elements of its style.
The cast was also widely praised, with Travolta, Thurman and Jackson earning particular acclaim. In 2008, Entertainment Weekly named it the best film since 1983 and it has appeared on many critics’ lists of the greatest films ever made. In 2013, Pulp Fiction was selected for preservation in the United States National Film Registry by the Library of Congress as “culturally, historically, or aesthetically significant”.
pulp fiction trailer
Pulp Fiction Reviews
Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who doesn’t care if he tears up the piano, as long as everybody is rocking. His new movie “Pulp Fiction” is a comedy about blood, guts, violence, strange sex, drugs, fixed fights, dead body disposal, leather freaks, and a wristwatch that makes a dark journey down through the generations.
Seeing this movie last May at the Cannes Film Festival, I knew it was either one of the year’s best films, or one of the worst.
Tarantino is too gifted a filmmaker to make a boring movie, but he could possibly make a bad one: Like Edward D. Wood Jr., proclaimed the Worst Director of All Time, he’s in love with every shot – intoxicated with the very act of making a movie. It’s that very lack of caution and introspection that makes “Pulp Fiction” crackle like an ozone generator: Here’s a director who’s been let loose inside the toy store, and wants to play all night.
The screenplay, by Tarantino and Roger Avary, is so well-written in a scruffy, fanzine way that you want to rub noses in it – the noses of those zombie writers who take “screenwriting” classes that teach them the formulas for “hit films.” Like “Citizen Kane,” “Pulp Fiction” is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next.
It doubles back on itself, telling several interlocking stories about characters who inhabit a world of crime and intrigue, triple-crosses and loud desperation. The title is perfect. Like those old pulp mags named “Thrilling Wonder Stories” and “Official Detective,” the movie creates a world where there are no normal people and no ordinary days – where breathless prose clatters down fire escapes and leaps into the dumpster of doom.
The movie resurrects not only an aging genre but also a few careers.
John Travolta stars as Vincent Vega, a mid-level hit man who carries out assignments for a mob boss. We see him first with his partner Jules (Samuel L. Jackson); they’re on their way to a violent showdown with some wayward Yuppie drug dealers, and are discussing such mysteries as why in Paris they have a French word for Quarter Pounders.
They’re as innocent in their way as Huck and Jim, floating down the Mississippi and speculating on how foreigners can possibly understand each other.
Travolta’s career is a series of assignments he can’t quite handle. Not only does he kill people inadvertently (“The car hit a bump!”) but he doesn’t know how to clean up after himself.
Good thing he knows people like Mr. Wolf (Harvey Keitel), who specializes in messes, and has friends like the character played by Eric Stoltz, who owns a big medical encyclopedia, and can look up emergency situations.
Travolta and Uma Thurman have a sequence that’s funny and bizarre. She’s the wife of the mob boss (Ving Rhames), who orders Travolta to take her out for the night. He turns up stoned, and addresses an intercom with such grave, stately courtesy Buster Keaton would have been envious.
They go to Jack Rabbit Slim’s, a 1950s theme restaurant where Ed Sullivan is the emcee, Buddy Holly is the waiter, and they end up in a twist contest.
That’s before she overdoses and Stoltz, waving a syringe filled with adrenaline, screams at Travolta, “YOU brought her here, YOU stick in the needle! When I bring an O.D. to YOUR house, I’LL stick in the needle!” Bruce Willis and Maria de Medeiros play another couple: He’s a boxer named Butch Coolidge who is supposed to throw a fight, but doesn’t.
She’s his sweet, naive girlfriend, who doesn’t understand why they have to get out of town “right away.” But first he needs to make a dangerous trip back to his apartment to pick up a priceless family heirloom – a wristwatch.
The history of this watch is described in a flashback, as Vietnam veteran Christopher Walken tells young Butch about how the watch was purchased by his great-grandfather, “Private Doughboy Orion Coolidge,” and has come down through the generations – and through a lot more than generations, for that matter.
Walken’s monologue builds to the movie’s biggest laugh.The method of the movie is to involve its characters in sticky situations, and then let them escape into stickier ones, which is how the boxer and the mob boss end up together as the captives of weird leather freaks in the basement of a gun shop.
Or how the characters who open the movie, a couple of stick-up artists played by Tim Roth and Amanda Plummer, get in way over their heads. Most of the action in the movie comes under the heading of crisis control.
If the situations are inventive and original, so is the dialogue. A lot of movies these days use flat, functional speech: The characters say only enough to advance the plot. But the people in “Pulp Fiction” are in love with words for their own sake.
The dialogue by Tarantino and Avary is off the wall sometimes, but that’s the fun. It also means that the characters don’t all sound the same: Travolta is laconic, Jackson is exact, Plummer and Roth are dopey lovey-doveys, Keitel uses the shorthand of the busy professional, Thurman learned how to be a moll by studying soap operas.
It is part of the folklore that Tarantino used to work as a clerk in a video store, and the inspiration for “Pulp Fiction” is old movies, not real life. The movie is like an excursion through the lurid images that lie wound up and trapped inside all those boxes on the Blockbuster shelves.
Tarantino once described the old pulp mags as cheap, disposable entertainment that you could take to work with you, and roll up and stick in your back pocket. Yeah, and not be able to wait until lunch, so you could start reading them again.
- BY Roger Ebert – Roger Ebert
- Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism
Pulp Fiction (1994)
John Travolta as Vincent Vega
Bruce Willis as Butch Coolidge
Samuel L. Jackson as Jules
Uma Thurman as Mia
- Quentin Tarantino
Pulp Fiction pictures
pulp fiction pulp fiction pulp fiction pulp fiction pulp fiction pulp fiction pulp fiction pulp fiction pulp fiction