PULP FICTION

US, 1994, 154 minutes, Colour.
John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Harvey Keitel, Ving Rhames, Tim Roth, Amanda Plummer, Rosanna Arquette, Eric Stoltz, Christopher Walken, Maria del Madeiros, Frank Whaley, Quentin Tarantino.
Directed by Quentin Tarantino.

Pulp Fiction has become a classic, one of the icon films of the 1990s. It won the Grand Prix at Cannes in 1994. However, it won only the Best Screenplay award at the Oscars (the Oscar going to the more popular Forrest Gump).

Quentin Tarantino, inspired by many of the Hong Kong action films, is a writer-director with great energy, verbal skills, a sense of violence in contemporary society. His first feature was Reservoir Dogs. After Pulp Fiction he made Four Rooms and Jackie Brown.

The film takes its definition from pulp, the popular violent pulp fiction detective and crime stories that have been popular throughout the world. However, in his writing, Tarantino is post-modern, not presenting his material in linear fashion. In fact, the narrative of the film ends two-thirds the way through and then returns to initial events. The bluntness of the action appealed to the sensibilities of younger audiences in the '90s while repelling older sensibilities (especially the scene with Harvey Keitel as Winston Wolfe, the car cleaner).

However, as in Reservoir Dogs, Tarantino shows great skill in writing, having his characters talk about even the most nondescript subjects in an eloquent and interactive way. This recurs throughout the film.

The film saw the revival of John Travolta's career in the late '90s. There is an excellent performance also from Samuel L. Jackson and both were Oscar nominated. Bruce Willis, as always, gives a compelling performance. There are several stars in what are virtually cameo roles, especially Harvey Keitel and Christopher Walken. Tim Roth, who appeared in Reservoir Dogs and Four Rooms, is also menacing as the would-be restaurant robber.

Pulp Fiction was so influential (something like the Mad Max movies in the '80s) that it influenced a whole range of films, generally lesser in their sensitivity, imitating this kind of violent world.

1. The status of Pulp Fiction as a classic, its influence on other film-makers and trends, the awards? The appeal to audiences who were younger, less to those older? Universal appeal?

2. The work of Quentin Tarantino, his perspective and influences, his skills in language, visuals, music? His depiction of situations, relationships and people? Violence?

3. Los Angeles: the city itself, the streets, apartments, homes, restaurants, clubs?

4. The structure of the film: the narrative going in a circle (post-modern in its lack of linear continuity)? The captions: Vincent Vega and Masellus Wallace's wife; the gold watch; the Bonnie situation?

5. The impact of the film in its talk, smart talk, the meaning of trivial things, the dexterity of language? Its flip tone yet serious? The religions dimension with the quotations from Ezekiel, Jules interpreting the miracle, the discussions about Providence and God's intervention?

6. The effect of the visuals, the editing and pace? The musical score and its range, the songs, commenting on the situation?

7. The definition of pulp given at the beginning of the film and its relevance to the story? The title and its visuals, the credits? Pulp and plot, characters, situations, events and motives?

8. The prologue with Ringo and Yolanda, their discussion about guns, robberies, not robbing restaurants, their kissing, the violence and doing the robbery? The robbery being taken up in the finale?

9. Jules and Vincent in the car, their discussions, Amsterdam, McDonald's and the Parisian names, French fries and mayonnaise, the discussion about television pilots? Getting their guns? The range of values, ethics, lack of moral stance? Their capacity to interact? The discussion about the fat Samoan, the massage of the feet, his fall? The introduction, verbally, to Masellus Wallace? Confronting the three young men in the apartment, eating the burger, the men being nervous, the casual shooting, Brett saying "What"? Jules quoting Ezekiel 25:17 and it being a kind of mantra for him about God, people, violence?

10. The transition to Butch, the long take just focusing on Butch's face while Masellus speaks, lectures him on pride, the fixing of the fight? Butch and Vincent meeting at the bar, suspicions, the irony insofar as Butch was to kill Vincent?

11. The drug scene, the drug dealers, the dealer and his wife and the friend, Lance and Jodie? Vincent, the syringe, Vincent on a high?

12. The introduction to Mia, Masellus's wife, the note on the door, the singing of "Son of a Preacher Man"? Going to the nightclub, the singer, the Marilyn Monroe type, the imitation of the stars and singers? The comment that it was like a wax museum with a pulse? The $5 milkshake? Ce la vie and Mia and Vincent dancing, the impact of John Travolta dancing on screen again? Winning of the trophy, the return home, Vincent rehearsing his leaving speech, Mia and the record, taking the cocaine, bleeding, collapsing, foaming? Vincent phoning Lance, driving him there, Mia on the lawn while they argued, Jodie and her bickering? The syringe and the shot in the heart? Her finally telling Vincent the tomatoes and ketchup joke?

13. The interlude with the colonel's visit to the young Butch, a boy's eye angle on his speech, the long speech about American involvement in wars, the story of the watch, the history of generations? Keeping the watch safe for seven years! The flashback and Butch's memory?

14. The fight, Butch running away, the taxi driver and her wanting to know what it was like to kill a man? The phone call about the bookies and the money? His girlfriend, their relationship? Concern about danger? The bikie movie on TV? Butch's watch missing, the smashing tantrum, anger in the car? His going to the house, getting the watch, the confrontation with Vincent and shooting him? His seeing Masellus in the street, running him down, the crash? Masellus shooting across the street, chasing Butch? Their going into the shop, the shipowners and his ringing his friends, tying them up? The security officer and the gimp? The "eeny, meenie, minie, mo" and the rape? Butch hesitant about helping Masellus, the hammer, the bat, the saw, the sword? Masellus shooting the security man? Things even between Butch and Masellus?

15. The plot's returning to Brett, Jules quoting Ezekiel 17, divine intervention? The fourth man and their being shot, the question of whether God came and stopped the bullets? In the car, the discussion about the TV program Cops? Jules wanting to retire, talking with the boy in the back, Vincent accidentally shooting him? The bloodstained car?

16. The phone call to Jimmy, Quentin Tarantino as Jimmy, his comment about "No sign for dead nigger storage", calling Wolfe, his businesslike approach, orders and cleanliness, the cleaning of the car, Vincent and Jules cleaning, being hosed down? Wolfe taking notes, drinking the coffee, surveying the car? The Monster Joe's disposal and everything as good as new?

17. Breakfast in the diner, the discussion about pigs and dirty animals and their personalities? The discussion about the miracle versus a freak occurrence? The nature of an act of God? Jules feeling touched by God? His motivation, walking the Earth even if it was forever? Vincent considering that he was merely a bum, Jules saying he had a moment of clarity?

18. The return to the robbery, Ringo and Yolanda and taking up the money, the wallets, wanting Jules's case? The pointing of the guns, Jules holding the gun, his sermon on goodness and redemption to Ringo, buying Ringo's life and being a shepherd for him?

19. Jules and Vincent walking out of the diner - and the audience knowing that Vincent would take out Mia, have the drug problem, be shot by Butch?

20. The overall impact of the storytelling, its style, the impact of the verbal interchanges, the characters and the issues?