Pulp Fiction is a 1994 crime movie written and directed by Quentin Tarantino, based on stories by Tarantino and Roger Avary, and starring John Travolta, Samuel L. Jackson, Bruce Willis , Ving Rhames, and Uma Thurman. The film tells some of Los Angeles's criminal stories. The title of this film refers to pulp magazines and popular criminal novels during the mid-20th century, known for its graphic violence and sharp dialogue.
Scenarios from Pulp Fiction were written in 1992 and 1993, and included some scenes originally written by Avary for True Romance . The plot is presented in chronological order. The film also references itself from its opening moments, starting with a title card that gives two definitions of a "pulp" dictionary. A sizable screen time is reserved for monologues and casual conversations with an eclectic dialogue that expresses the perspective of each character on some subjects, and the film features an ironic combination of humor and strong violence. The manuscript was reportedly rejected by Columbia TriStar as "too crazy". However, the vice chairman of Miramax, Harvey Weinstein, immediately fascinated with it, and this film became the first fully funded by Miramax.
Pulp Fiction won the Palme d'Or at the 1994 Cannes Film Festival, and was a major critical and commercial success of its release in the US. It was nominated for seven Oscars, including Best Picture; Tarantino and Avary win for Best Original Screenplay. John Travolta, Samuel L. Jackson, and Uma Thurman each received an Academy Award nomination for their role and revitalized and/or improved their careers. The nature of development, marketing, and distribution - and its profitability - has a sweeping effect on independent cinema.
Since its release, Pulp Fiction has been widely regarded as Tarantino's masterpiece, with special praise selected for the script writing. The self-reflection of the film, its unconventional structure, and the extensive use of reverence and pastiche have caused critics to describe it as a postmodern film test. It is often regarded as a region of cultural flow, with a strong influence felt not only in later films that adopt various elements of style, but in some other media as well. The 2008 Entertainment Weekly list named it the best film from 1983 to 2008 and his work has appeared on many critics lists of the greatest movies ever made. In 2013, Pulp Fiction is selected for preservation in the United States National Film Register by the Library of Congress as "significant cultural, historical, or aesthetic".
Video Pulp Fiction
Struktur naratif
Narrative Pulp is told out of chronological order, and follows three main stories that are interconnected: Vincent Vega's contract car killer is the protagonist of the first story, prizefighter Butch Coolidge is the second protagonist, and Partner Vincent Jules Winnfield is the protagonist The third. The stories are intersected in various ways.
The film begins with dinner arrest staged by the couple, then takes stories of Vincent, Jules, and Butch. Finally back to where it started, in the restaurant. There are a total of seven narrative sequences; the three main storylines are preceded by the intertitles:
- "Prologue - The Diner" (i)
- Leading "Vincent Vega and Marsellus Wallace's Wife"
- "Vincent Vega and Marsellus Wallace's Wife"
- Prelude to "The Gold Watch" (a - flashback, bÃ, - present)
- "The Gold Watch"
- "The Bonnie Situation"
- "Epilogue - Restaurant" (ii)
If the seven sequences are ordered chronologically, they will run: 4a, 2, 6, 1, 7, 4b, 3, 5. The order 1 and 7 partially overlaps and is presented from different angles, as well as sequences 2 and 6. In Philip Parker's description, the structural form is "an episodic narrative with a circular event adding start and end and allowing references to elements of each separate episode to be created throughout the narrative." Other analysts describe the structure as a "circular narrative".
Maps Pulp Fiction
Plot
Hitmen Jules Winnfield and Vincent Vega arrive at an apartment to retrieve a suitcase for their boss, gangster Marsellus Wallace, from a colleague, Brett. After Vincent examined the contents of the suitcase, Jules shot one of Brett's associates, then declared a passage from the Bible before he and Vincent killed Brett for trying to multiply Marsellus. They carried the suitcase to Marsellus, but had to wait while he bribed champion Butch Coolidge to dive in his upcoming game.
The next day, Vincent buys heroin from his drug dealer, Lance. He fired, then drove to meet Marsellus, Mia's wife, whom he agreed to escort while Marsellus was out of town. They ate at a 1950-themed restaurant and participated in a round contest, then came home with a trophy. While Vincent was in the bathroom, Mia found heroin, a mistake for cocaine, snoring, and an overdose. Vincent prodded him to Lance's house, where they lit him with adrenaline fired at his heart.
Butch doubled Marsellus and won the battle, unintentionally killing his opponent. At the motel where he and his girlfriend, Fabienne, lay limp and preparing to flee the city, Butch realized that he had forgotten to pack his father's golden watch, a beloved heirloom, and flew into anger. Returning to his apartment to pick up his watch, he sees a gun on the kitchen table and hears the toilet flush. Vincent came out of the bathroom and Butch shot him dead.
When Butch waited at the traffic light in his car, Marsellus saw it by chance and chased him into the pawnshop. The owner, Maynard, caught them at gunpoint and tied them up in the basement. Maynard joins Zed, a security guard; they took Marsellus to another room to rape him, left the "gimp", a silent figure in a bondage suit, to keep an eye on Butch. Butch broke and punched the gimp. He will escape but decides to save Marsellus, returning with the katana from the pawnshop. He killed Maynard; Marsellus took Maynard's rifle and shot Zed. Marsellus informs Butch that they are even, as long as he does not tell anyone about the rape and leave Los Angeles forever. Butch takes Fabienne on Zed's helicopter.
Earlier, after Vincent and Jules executed Brett in his apartment, another man came out of the bathroom and shot them wildly, disappearing all the time; Jules and Vincent killed him. Jules decided their survival was a miracle, which Vincent disagreed with. As Jules drove, Vincent accidentally shot Brett Marvin's partner in the face. They hide the car at the house of their colleague, Jimmie, who insists that they face a problem before his wife comes home. Marsellus sent his cleanser, Winston Wolfe, who directed Jules and Vincent to clean the car, hid the bodies in the trunk, dumped their bloody clothes, and drove the car into the garbage courtyard.
Roger Avary wrote the first element of what would become the Pulp Fiction scenario in the fall of 1990:
Tarantino and Avary decided to write short, with the theory that it would be easier to create than a feature. But they soon realized that no one produced shorts, so the film became a trilogy, with one part by Tarantino, one by Avary, and one by a third director that never materialized. Each eventually expanded its share into feature script.
The initial inspiration was the horror film three-part horror Black Sabbath (1963), by Italian filmmaker Mario Bava. The Tarantino-Avary project is temporarily entitled "Black Mask," after the stinging crime fiction magazine. The Tarantino script was produced as a Dog Reservoir , its directing debut; Avary's, entitled "Pandemonium Reigns," will be the basis for the "Gold Watch" storyline from Pulp Fiction .
By working on the Dog Reservoir, Tarantino returns to the idea of ​​a trilogy film: "I got the idea of ​​doing something the novelist gets the chance to do but the filmmaker does: tells three separate stories, has a floating character and comes out with weights which is different depending on the story. "Tarantino explains that the idea" is basically to take on the oldest chestnut you've ever seen when it comes to a criminal story - the oldest story in the book... You know, 'Vincent Vega and Marsellus Wallace's Wife'Ã, - the oldest story about... the guy has to go with the big man's wife and do not touch it.You know, you've seen that story a billion times. "" I use old storytelling forms and then deliberately make them go awry " he said. "Part of this trick is to take the character of this movie, the character of this genre and the situation of this genre and actually apply it to some real life rules and see how they reveal it." At least in one case, Butch Coolidge's boxer, Tarantino has a certain character from the classic Hollywood crime story: "I want him to be basically like Ralph Meeker as Mike Hammer at Aldrich's Kiss Me Deadly. [1955] I want him be a bully and a jerk ".
Tarantino began working on a script for Pulp Fiction in Amsterdam in March 1992, probably at the Winston Hotel in Red Light District. He joined there by Avary, who contributed "Pandemonium Reigns" to the project and participated in the rewriting and development of a new storyline that would connect with him. Two scenes originally written by Avary for the True Romance scenario, exclusively credited to Tarantino, were put in the opening of "The Bonnie Situation": the "miracle" of missed shots by hidden shooters and back seats of car killing. The idea of ​​a crime "purifier" that became the heart of this episode was inspired by the short, Curdled , which Tarantino saw at the film festival. She threw the lead actress, Angela Jones, in Pulp Fiction and later supported the filmmaker's production of a long version of Curdled. The script includes several commercial brands that will often be featured in the movie Tarantino later: Big Kahuna burgers (Big Kahuna soda cups appear in Dog Reservoir ) and Red Apple cigarettes. While he was working on the script, Tarantino also accompanied the Dog Reservoir around the European film festival. Released in the US in October 1992, the image was a critical and commercial success. In January 1993, the script Pulp Fiction finished.
Financing
Tarantino and his producer, Lawrence Bender, took the script to Jersey Film. Even before looking at the Dog Reservoir , Jersey has been trying to sign Tarantino for the next project. In the end a $ 1 million development agreement was reached: The deal gave A Band Apart, Bender, and Tarantino's newly established production company, initial financing and office facilities; Jersey gets part of the project and the right to shop the script to a studio. Jersey has a distribution and a "first look" deal with Columbia TriStar, which gives Tarantino the right to consider using its options. In February, Pulp Fiction appeared in the pre-production movie list in TriStar. However, in June, the studio put the script into a turnaround. According to a studio executive, TriStar's head Mike Medavoy feels "too crazy". There is a suggestion that TriStar holds to support movies featuring heroin users; there are also indications that the studio only sees the project as too low-budget for images that are moved by the desired star. Avary - who will begin filming her own directing debut, Killing Zoe - has said that TriStar's objection is comprehensive, including the fundamental structure of the script. He characterizes the studio position: "'This is the worst thing ever written.It does not make sense: Someone died and then they live, too long, rough, and can not explode.'... So I thought, 'That's it!' "
Bender took the script to Miramax, an independent studio previously just acquired by Disney. Harvey Weinstein - co-chairman of Miramax, along with his brother, Bob - was instantly fascinated by the script and the company picked it up. Pulp Fiction , the first Miramax project to get the go-ahead after the Disney acquisition, is budgeted at $ 8.5 million. This became the first film financed entirely by Miramax. Helping to withhold costs is a Bender plan to pay all major actors the same amount per week, regardless of their industry status. The biggest star to sign the project is Bruce Willis. Although he recently appeared in some great budget flops, he is still a great overseas player. On the strength of his name, Miramax collected $ 11 million for worldwide film rights, virtually ensuring profitability.
Filming
Principal photography began on 20 September 1993. The main off-screen talent all working with Tarantino on Reservoir Dogs - cinematographer Andrzej Secu? A, film editor Sally Menke, production designer David Wasco, and costume designer Betsy Heimann. According to Tarantino, "[W] e have $ 8 million. I wanted it to look like a $ 20-25 million movie. I want to look like an epic. It is an epic in everything - in the discovery, ambition, in length, in scope, in everything except the price tag. "the film, he says, was shot" on 50 ASA film stock, which is the stock slowest they make. the reason we use it is that it creates an image that almost no grain, it sparkles. it is the closest we have to the 50s Technicolor. "The lion's share of the budget - $ 150,000 - goes to create sets of Jack Rabbit Slim. Built in the Culver City warehouse, where he joins several other sets, as well as the film production office. The restaurant sequence was shot at a location in Hawthorne at Hawthorne Grill, famous for its Googie architecture. For the costumes, Tarantino takes its inspiration from French director Jean-Pierre Melville, who believed that the clothes worn by the characters are symbolic of their armor. Tarantino puts himself in a small role like he did in Dog Reservoir . One of his pop totems, Fruit Brute, General Mills cereal that had long been stopped, also returned from the previous movie. Records wrapped on November 30th. Before the premiere of Pulp Fiction ', Tarantino convince Avary to cancel cowoin approved credit and receive loans "story by", so the line "Written and directed by Quentin Tarantino" could be used in ads and on the screen.
Music
No movie score created for Pulp Fiction ; Quentin Tarantino instead uses a variety of surf music, rock and roll, soul, and pop songs. Dick Dale's appearance on the drama "Misirlou" during the opening. Tarantino chose surf music as the basic musical style for the movie, but no, he insisted, because of his connection to surf culture: "For me it just sounds like rock and roll, even Morricone music, it sounds like rock and roll spaghetti western music." Several songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who are credited as music consultants. Lovelace also appeared in the film as Laura, a waitress; he reprized the role in Jackie Brown . The soundtrack album, Music from Motion Picture Pulp Fiction , was released along with the movie in 1994. The album peaked at the Billboard 200 chart at number 21. Her single, Urgent Overkill cover on Neil Diamond song "Girl, You're Be a Woman Soon", reaching number 59.
Estella Tincknell explains how special combinations of well-known and unclear recordings help set the film as a cool "self-conscious" text. The use of the mono-track style, the early-1960s 'early-American' pop-heavy beat mixed with 'classical' ballads such as Dusty Springfield's 'Human Preacher' is very important for the postmodern knowledge of this film. "He compared the soundtrack to the soundtrack of Forrest Gump, 1994's best-selling movie, which also relied on recording of pop periods:" [T] he version of 'the sixties' offered by Pulp Fiction >... of course not from a publicly known counterfeit culture shown in Forrest Gump, but, more precisely, a more genuine sub-cultural form around the lifestyle. - Surfing, 'hanging' - it's really apolitical. "The soundtrack is central, he said, for a film engagement with" young, cinematic-minded audience "solicits.
Reception
Launch and office box
Pulp Fiction aired in May 1994 at the Cannes Film Festival. The Weinsteins "hit the beach like a commando", bringing the whole cast on the picture. The film was launched at midnight screening and caused a sensation. He won the Palme d'Or, the grand prize of the festival, generating a surge of publicity.
The first US review for the film was published on May 23 in the industry trade magazine Variety . Todd McCarthy calls "Pulp Fiction" a very entertaining part of pop culture... a surprisingly great success. " From Cannes forward, Tarantino continues on the road, promoting the film. Over the next few months he played at small festivals throughout Europe, building rumors: Nottingham, Munich, Taormina, Locarno, Norway, and San SebastiÃÆ'¡n. Tarantino then said, "One cool thing is that by breaking up the linear structure, when I watch the movie with the audience, it breaks the alpha state [audience].It's like, all of a sudden, 'I must watch this... I have to pay attention. 'You can almost feel everyone moving in their seats.It's fun watching the audience in some way chasing a movie.' At the end of September, opening the New York Film Festival. The New York Times publishes its review on the opening day. Janet Maslin calls the film "a triumphant, clever and confusing journey through a demimonde that comes fully from Mr. Tarantino's mature imagination, a dynamic landscape of danger, surprise, excitement and dynamic color... [He] has come up with a work such depth, genuine and sparkling intelligence that puts him in the front row of American filmmakers. "
On October 14, 1994, Pulp Fiction went into a general release in the United States. As Peter Biskind explains, "It's not on-platform, that is, it does not open in some theaters and rolls slowly when words are built, the traditional way of releasing indie films; it widened immediately, to 1,100 theaters." the eyes of some cultural critics, the Dog Reservoir has given Tarantino a reputation for violent glamorization. Miramax plays with problems in his marketing campaign: "You will not know the fact until you see fiction", go one slogan. Pulp Fiction was the best-selling film at the box office on the first weekend, crawling out Sylvester Stallone's The Specialist , which was in its second week and playing more than twice as much many cinemas. Against its budget of $ 8.5 million and about $ 10 million in marketing costs, Pulp Fiction ultimately earned $ 107.93 million at the US box office, making it the first "indie" film to surpass $ 100 million. Worldwide, it took almost $ 213 million. In the case of a domestic cast, it was the tenth biggest movie of 1994, although it was screened on far fewer screens than any other movie in the top 20. Popular engagements with the film, such as speculation about the contents of a valuable bag, "show the type of cult status that Pulp Fiction is achieved immediately." As MovieMaker says, "The film is nothing more than national cultural phenomenon. " Abroad, too: In the UK, the venue opened one week after the US release, not only the film was a huge success, but in book form, the scenario became the most successful in the history of British publishing, a top ten bestseller.
Critical response
Overall, the film achieved a very high ranking among US reviewers. It holds a 94% score based on 79 reviews on Rotten Tomatoes with an average rating of 9.1/10. The important consensus of this website reads, "One of the most influential films of the 1990s, Pulp Fiction was a mix of post- -modern of neo-noir sensation, dense black humor, and the touch of pop culture. " It has an average score of 94/100 based on 24 reviews about Metacritic.
The response of major American film reviewers is very favorable. Roger Ebert of the Chicago Sun-Times describes it as "very well written with an unclear fanzine way so you want to rub the nose in it - the nose of zombie writers who took the" scriptwriting "class that taught them the formula for the 'hit movie'. "Richard Corliss of TIME writes," This film outperforms other films this year gracefully and threatens as a gang in preschool schools.These Hollywood movies to be clever will go so far If a good director accepts the implicit challenge of Tarantino, the cinema can again be a great place to live. "In Newsweek, David Ansen writes," The Miracle of Quentin Tarantino Pulp Fiction is how, consisting of a trace, a part underestimated, it works like a new glow. " "You're drunk by it," Owen Gleiberman, writing Owen Gleiberman's Entertainment Weekly Owen Gleiberman, "is high on rediscovery about how fun movies can be.I'm not sure I've ever met a filmmaker which combines discipline and control with wild excitement like Tarantino does. "" There are special kicks coming from watching something very lively ", writes Peter Travers of Rolling Stone. " Pulp Fiction is really great."
The Los Angeles Times is one of several major news outlets to publish a negative review on the opening weekend of the movie. Kenneth Turan writes, "Writers-directors seem to be striving for its effects." Some of the sequences, especially those involving bridal reigns and homosexual rape, have an uneasy feeling of creative despair, someone who is afraid of losing his reputation scrambling for any way to offend. reviewing it in the following weeks takes more exceptions for the dominant critical reaction than Pulp Fiction itself. Although not documenting the film, Stanley Kauffmann of The New Republic felt that "the way it has been so much crushed and drooled over the emblem on the disgusting." Pulp Fiction preserving, conspiring, slumming cultures. "In response to a comparison between Tarantino's film and French New Wave director Jean-Luc Godard's most notable first feature, Jonathan Rosenbaum of Chicago Reader wrote," The fact that > Fictional Porridge collects more luxurious raves than Breathless ever telling you much about what cultural references are considered more useful - that is, what we already have and do not want to expand. " Observing in the National Review that "[n] o film arrives with more advanced hype", John Simon is not answered: "titillation heals both emptiness and superficiality".
The debate about the film spreads beyond the review page. Violence is often the theme. In The Washington Post , Donna Britt describes how she likes not to see Pulp Fiction during the last weekend and thus avoids "discussing a festive scene where shots spray someone's brain around the car's interior ". Some commentators take exception to the frequently used use of "nigger" films. In the Chicago Tribune Todd Boyd argues that the recurrence of the word "has the ability to signify the highest level of passion for white males who historically use their perception of black masculinity as the embodiment of coolness". In England, James Wood, writing in The Guardian, set the tone for many of the following criticisms: "Tarantino represents the final victory of postmodernism, which empties the art of all content, thus avoiding its capacity to do anything but without power representing our suffering... Only at this age can a gifted writer like Tarantino produce such a vacuous artwork, so completely stripped of politics, metaphysics, or any moral interest. "
Awards Season
Around the turn of the year, Pulp Fiction is named Best Picture by National Society of Film Critics, National Board of Review, Los Angeles Film Critics, Boston Society of Film Critics, Society of Texas Film Critics, Southeast Film Critics Association , and the Kansas City Film Critics Circle. Tarantino was named Best Director by the seven organizations as well as by the New York Film Critics Circle and the Chicago Film Critics Association. This scenario won several prizes, with various award agencies who considered credit differently. At the 52nd Golden Globe Awards, Tarantino, who was named the sole recipient of the Best Screenplay honor, failed to mention Avary in his acceptance speech. In February 1995, the film received seven Oscar nominations - Best Movie, Directed, Actor (Travolta), Supporting Actor (Jackson), Supporting Actress (Thurman), Original Screenplay and Film Editing. Travolta, Jackson and Thurman were each also nominated for the 1st Screen Championship Award, presented on February 25, but no one took the honor home. At the Academy Awards ceremony the following month, Tarantino and Avary were announced as winners alongside the Academy Award for Best Original Screenplay. The furor around the movie is still strong: most of the March edition of Artforum is devoted to its critical dissection. Pulp Fiction collects four awards at the Independent Spirit Awards, held at the end of the month - Best Feature, Best Director, Male Leader (Jackson), and Best Screenplay (Tarantino). At the British Academy Film Awards (BAFTA), Tarantino and Avary shared the BAFTA Award for Best Original Screenplay, and Jackson won for Best Supporting Actor. The film was nominated for the Grand Prix of the Belgian Film Critics Association.
Influence and reputation
Pulp Fiction was quickly considered one of the most important films of his era. In 1995, in a special edition Siskel & amp; Ebert serves Tarantino, Gene Siskel argues that the work is a big challenge to "hardening American films with their brutal formulas". In Siskel's view,
violent intensity Pulp Fiction is reminiscent of other hard-core watershed films that are considered classic in their day and age. Hitchcock's Psycho [1960], Arthur Penn Bonnie and Clyde [1967], and Stanley Kubrick A Clockwork Orange [1971]. Every movie shakes the bloated and fat film industry and uses the living lowlifes to reflect on how boring other films are. And that, I predict, will be the highest honor for Pulp Fiction . Like all other great movies, this film criticizes other films.
Ken Dancyger writes that "imitative and innovative style" - like its predecessor, Dog Reservoir - represents
a new phenomenon, a film whose style is made from the context of film life rather than real life. Consequently there are two - a preconceived knowledge presumption on the part of audiences of forms like gangster or western movies, horror movies or adventure movies. And that parody or change of the film creates a new form, a different experience for the audience.
In a widely-covered speech on May 31, 1995, Republican presidential candidate Bob Dole attacked the American entertainment industry for peddling "nightmares of depravity". Pulp Fiction was immediately linked to his allegations of haphazard violence. Dole actually did not mention the film; he cites two lesser-known films based on Tarantino's scenario, Natural Birth Killers and True Romance . In September 1996, Dole accused the Pulp Fiction - which he did not see - promote "heroin romance".
Paula Rabinowitz expressed the opinion of the common film industry that Pulp Fiction simultaneously evokes John Travolta and the film noir. In Peter Biskind's description, it creates a "people-with-gun frenzy". The film is also labeled black comedy and "neo-noir". Critic Geoffrey O'Brien, however, opposes the Pulp Fiction classification into the neo-noir genre: "Noir's past passions, melancholy sad scenes and dead operas, will altogether come out of place in the dazzling magical land and luminous light that Tarantino raised up. [It] is neo-noir or noir parody. "Similarly, Nicholas Christopher calls him" gang camp more than neo-noir ", and Foster Hirsch points out that his trippy fantasy landscape is more definitive than label genre. Regardless, the effect of the Pulp Fiction style becomes immediately apparent. Less than a year after the release of the picture, British critic Jon Ronson attended the final screening of the National School School movie and assessed its impact: "Of the five student films I watched, four videos used violent shooting on iconoclastic soundtracks. climax with all the main characters shooting each other at once, and one has two assassins discussing the weirdness of the Brady Bunch before their victim is offing.Not since Citizen Kane i> has one person showing up from the relative obscurity to redefining the art of filmmaking. "Among the first Hollywood films cited as imitators were Destiny Turns on Radio (1995), where Tarantino acted, The things that Must Do in Denver When You're Dead (1995)), and 2 Days in the Valley (1996). This "triggers a myriad of clones", writes Fiona Villella. Internationally, according to David Desser, "not only affects the UK noir brand, but extends virtually noir vision around the world." The Pulp Fiction effect on the form of the film still echoed in 2007, when David Denby of The New Yorker credited him with starting a continuous cycle of damaged cinematic narratives.
The impact on Hollywood is even deeper. According to the Variety , the Pulp Fiction path from the Cannes launch to destroy the ad "forever changed the game" from the so-called independent cinema. It "cemented the place of Miramax as a ruling superpower", wrote Biskind. " Pulp to Star Wars independent people, blowing hopes for what indie films can do at the box office." The return of large film finances with a small budget
change [ed] industry attitude towards low indies... spawning my flock- too classic division... [S] studio executive mart suddenly woke up to the fact that grosses and market share, which gets all the press, is not equal to profit.... Once the studio realizes that they can exploit a (small) scale economy, they more or less give up buying or updating the movie themselves, and buying distributors, like Disney owning Miramax, or starting up their own... copy [ing] marketing strategies and Miramax distribution.
In 2001, Variety , noted the increasing number of actors who alternated between expensive and independent low-budget studio films or indie projects, suggested that "the moment of speck for a movie star" came with a decision by Willis - one of the top performing artists in Hollywood - appears in Pulp Fiction .
And the impact is even wider than that. It has been described as a "major cultural event", an "international phenomenon" affecting television, music, literature, and advertising. Shortly after its release, it was identified as a significant focus of attention in the growing community of Internet users. Adding Pulp Fiction to The Great Movies list in 2001, Roger Ebert calls it "the most influential film of the decade". Four years later, Corliss Time wrote many of the same things: "(no doubt) the most influential American film of the 90s."
Some of the scenes and pictures of the film achieved iconic status; in 2008, Entertainment Weekly stated, "You will have trouble, now, to mention the moment of the non-iconic Quentin Tarantino movie." The "Royale with Cheese" dialogue Jules and Vincent became famous. It was referenced more than a decade and a half later in the Travolta vehicle From Paris with Love . Adrenaline fired at the heart of Mia Wallace is on Premiere's ' list of "100 Greatest Movie Moments". The dancing scene of Travolta and Thurman characters has often been rumored, most ambiguously in the 2005 movie Be Cool, starring two of the same actors. The shadows of Travolta and Jackson characters standing side by side with suits and ties, pointing their guns, also became very familiar. In 2007, BBC News reported that "London transport workers have painted on iconic murals by Banksy's 'guerrilla artist'... The picture depicts scenes from Quentin Tarantino Pulp Fiction , with Samuel L. Jackson and John Travolta grasped a banana instead of a weapon. "Certain lines were adopted popularly as slogans, particularly the threat of Marsellus," I am medieval on your ass. " Jules "Biblical" quote is one of Jackson's own inner plays, near the end of 2014 Captain America: The Winter Soldier , the character of Jackson Colonel Nick Fury, allegedly dead, visited his own headstone, where, under the name Fury inscribed "The path of the righteous..." Ezekiel 25:17.
Pulp Fiction now appears in some critical judgments of great movies of all time. In 2008, Entertainment Weekly named it the best movie of the last quarter century. That same year, the "Ten Top Ten" poll of the American Film Institute placed him in the 7th place of all time in the genre of gangster movies. In 2007, it was voted 94 overall in 100 years... 100 AFI Film List. In 2005, it was named one of "Time 100 All-Time Movies". In January 2010, it was number 10 on Metacritic's list of highest scores of all time. The film is very high in popular surveys. The 2008 Empire poll combined best readers' opinions, film industry professionals, and critics named the finest ninth film of all time. In a 2006 readers' poll by the British magazine Total Film, it was ranked number three in history. It was voted the fourth greatest film of all time in the national poll for Channel 4 UK in 2001.
Critical analysis
Tarantino has stated that he originally planned "to perform the Black Mask Film ", referring to a magazine largely responsible for popularizing the fiction of a boiled detective. "[I] go elsewhere". Geoffrey O'Brien sees these results as "somewhat strongly connected to the parallel dispersed tradition: the terrible and extraordinary stories practiced by writers such as Cornell Woolrich [and] Fredric Brown... Both are dealt with in the impossible coincidence and cosmic jokes the cruel, the world that Pulp Fiction makes itself. "In particular, O'Brien finds a strong affinity between elaborate plot mechanics and Brown's novel bends and recursive structures, braided Pulp Fiction . Philip French describes the film's narrative as "a circular motion or strip of MÃÆ' ¶bius of the Resnais type and Robbe-Grillet will admire." James Mottram considers Elmore Leonard's criminal novel, whose influence has been acknowledged by Tarantino, as the main antecedent of the film. He pointed out that Leonard's "rich dialogue" is reflected in Tarantino's popular "popular culture-talent"; he also showed the acute and very dark sense of humor that Leonard applied to the area of ​​violence as a source of inspiration.
Robert Kolker sees "his breed, the clear evil of dialogue, the errors of temporality [as] patina over a pastiche." The pastiche... is basically two films that Tarantino can not get out of his book.
The film announcer from the satire of pop culture, from the famous Marilyn Monroe skirts flying over the subway leading to Jules who will soon become a victim as "Flock of Seagulls" for his haircut, has led many critics to talk about. it is within the framework of postmodernism. Describing the film in 2005 as Tarantino's "postmodern work... to date", David Walker writes that it's "marked by the tribute of playing for the 1950s... and constantly flirting and often different references to film- other films. "He characterizes the convoluted narrative technique as a" postmodern trick. "Calling the movie" postmodern end-collage hip ", Foster Hirsch invented Pulp Fiction far from a masterpiece:" authoritative, influential, and does not mean "Set" in a world that only exists in the movies ", it is" delicious guilty pleasures, wonderful junk food food for cinÃÆ' Ã… © astes. "O'Brien, refused an attempt to associate the film with noir film, argues that "Pulp Fiction" is more of a guided tour of an amusement park adorned with cultural detritus, Buddy Holly and Mamie Van Doren, fragments of blaxploitation and Roger Corman and Shogun Assassin, music from a station un age twenty-four hours that all decades since the fifties existed simultaneously. "Catherine Constable takes the moment in which the adrenaline-filled needles go into the heart of Mia's coma as an example.He proposes that it" can be seen as affecting its resurrection from death, simultaneously recalling and destroying the Gothic convention of the vampire. In this model, references of aesthetic forms and previous styles move outside............ pastiche empty, retaining inventive and affirmative 'mode of postmodernism'. "
Mark T. Conard asked, "[W] hat is the movie about ?" and the answer, "American Nihilism." Hirsch suggests, "If the film was anything about anything other than his own intelligence, it seemed dedicated to a dubious thesis that struck man was part of a human family." Richard Alleva argues that "Pulp Fiction" has much to do with actual crime or violence such as Cyrano de Bergerac with the 17th century French realities or The Prisoner of Zenda with Balkan politics. "He reads the movie as a romantic form whose appeals are centered on the non-naturalistic discourse of the character," the wisdom of the wise, the media-savvy, the epigrammatic repulsive. " In Alan Stone's view, the "absurd dialogue", like that between Vincent and Jules in a scene where the former inadvertently killed Marvin, "unexpectedly changed the meaning of violent clichà © Ã,... Pulp Fiction unraveling macho myths by making it ridiculous and predicting the journey of power glorified by standard Hollywood violence. "Stone read the film as" politically correct. There is no nudity and no violence directed against women... [It] celebrating inter-racial and cultural diversity: strong women and strong black men, and directors swimming against stereotypical streamlines. "
Where Stone sees a celebration, Kolker finds a vacuum: "Postmodern incompatibility, violence, homophobia, and racism
That's why Pulp Fiction is very popular. Not because all viewers get all or references to Scorsese and Kubrick, but because the narrative and spatial structures of the film never threaten to transcend themselves into marking. The film's cycle of racist and homophobic racism may threaten to get out of the worse worldview, but this ugliness continues to be laughed at - by the artificial intensity of action, roaming, confrontation, heretical, limited, and stuffy. the nastiness of the world created by Tarantino.
Henry A. Giroux argues that Tarantino "empties the violence of any critical social consequences, offering viewers only the proximity of surprise, humor, and irony-insight as a mediating element." None of these elements transcends the seduction of voyeuristic views. [T] he inspires a surprising consumption of images and hallucinations. "
Regarding violence and nihilism in the film, Pamela Demory has suggested that Pulp Fiction should be seen in the light of Flannery O'Connor's short story, which also features "religious elements, superficiality, and violence with strange humor." Discuss "the relationship between violence and redemption," Demory concludes that while O'Connor's goal is to convince the reader "of the powerful evil forces in the world and our need for grace," Tarantino "seeks to show that despite everything we have seen in movies - all violence, degradation, death, crime, immorality - grace is still possible, there may still be a God who does not judge us on the basis of goodness. "
Respect as essence
Movies
Pulp Fiction is full of compliments to other movies. "Tarantino's character," writes Gary Groth, "inhabits a world where the entire landscape is composed of Hollywood products.Tarantino is a cinematic kleptomaniac - he really can not help himself." Two scenes in particular have encouraged discussion of a highly intertextual style of film. Many assume that the dance sequence at Jack Rabbit Slim is intended as a reference for the performance of Travolta star making as Tony Manero in the era of Saturday Night Fever (1977); Tarantino, however, credits the scene in Godard Jean-Luc Bande ÃÆ' part (1964) by inspiration. According to the filmmaker;
Everyone thinks that I'm writing this scene just to dance John Travolta. But the scene was there before John Travolta was thrown. But once he's thrown, it's like, "Great, we can see John's dance.All the better."... Ã, My favorite music sequence is always at Godard, because they just appeared out of nowhere. It's very contagious, very friendly. And the fact that it was not a musical, but he stopped the movie to have a musical sequence, making it even sweeter.
Jerome Charyn argues that, beyond "all the better", Travolta's presence is essential to the power of the scene, and the film:
Travolta's entire career became "backstory", the myth of an undesirable movie star, but still in our memory as the king of discos. We kept waiting for him to release his belly, wearing a white polyester suit, and enter the 2001 Odyssey club in Bay Ridge, Brooklyn, where he would dance for us and never, never stop. Daniel Day-Lewis is unlikely to awaken such a strong longing in us. He is not part of the American mad cosmology... Tony Manero is an angel sitting on Vince's shoulder... [Vince and Mia] The actual dance may be closer to the choreography of Anna Karina's shuffle with her two clumsy gangster girlfriends. in Bande ÃÆ' part , but even that reference is missing on us, and we are with Tony again...
Estella Tincknell notes that while "the setting of the eating place seems to be a simulacrum of a 'fifties' restaurant... the twist contest is a musical sequence that evokes the 'sixties,' while Travolta's dance performances are definitely a 'seventies' reference and appearances in Saturday Night Fever. ... Ã, 'The past' thus becomes a more common 'madness' in which style markers of various decades are loaded into a single moment. "He also argues that in this section the film" briefly shifted from the usually ironic discourse to one that referred to the conventional musical classical film and in doing so enabled the film to inhabit the affective spaces that go beyond the metaphorical style. "
The crucial moment in which Marsellus crossed the street in front of Butch's car and saw him evoke a scene where Marion Crane's boss saw it under the same circumstances in Psycho (1960). Marsellus and Butch were immediately taken hostage by Maynard and Zed, "two sadistic honkyes directly from Deliverance" (1972), directed by John Boorman. Zed shares his name with Sean Connery's character in the follow-up of Boorman, the science fiction film Zardoz (1974). When Butch decides to save Marsellus, in the words of Glyn White, "he finds a lot of stuff with movie-hero resonance". Critics have identified these weapons with a variety of possible satire:
- HammerÃ, - The Toolbox Murders (1978)
- The baseball bat - Walking Tall (1973); The Untouchable (1987)
- ChainsawÃ, - Texas Chain Chain Massacre (1974); Evil Dead II (1987)
- Katana (samurai sword) Ã, - many, including Seven Samurai (1954); The Yakuza (1975); Shogun Assassin (1980)
At the end of the scene, Marsellus's reverberation lines echoed from the crime drama Charley Varrick (1973), directed by Tarantino's other hero Don Siegel; the name of the character who speaks there is Maynard.
David Bell argues that far from fighting "class stereotypical currents", these scenes, such as Deliverance, mobilize certain constructs of poor white folk - and in particular their sexuality... Sexual sexual expressions often take homosexual form of rape 'in American films. "Stephen Paul Miller believes the Pulp Fiction scene falls far more easily than the repeated scene:" The buggery that was done was not at all surprising like that in Deliverance ... The nineties films reduce competition, horror, and taboo for seven years into an entertaining adrenaline - fiction, pulp fiction. "Giroux also reads the scene of rape rape:" in the end the use of Tarantino's parody is about repetition, offense , and softening the face of violence by reducing it to belong to the history of the film. " In Groth's view, the crucial difference is that "in liberation the rape creates the central moral dilemmas of the film while in Pulp Fiction it is just the 'oddest day of [Butch] life.'" ( " American Me do it, too," Tarantino observed. "There are like three butt-fucking scenes in American Me definitely have to be defeated in certain categories ! ")
Neil Fulwood focuses on Butch's gun selection, writes, "Here, Tarantino's love of the film is the most open and nonjudgmental one, giving a graceful impression to the nobles and famous people, and sending his own reputation as a very bad film of violence.In addition, the scene made a sneaky comment about the readiness of the cinema to grab whatever will be submitted for moments of chaos and murder. "White insists that" katana he finally, and significantly, chose to identify himself with a... honorable hero. " Conard argues that the first three items symbolize the nihilism that Butch rejected. Traditional Japanese swords, by contrast, represent cultures with well-defined moral codes and thus connect Butch with a more meaningful approach to life.
Television
Robert Miklitsch argues that "Tarantino telephony" may be more important to the sensitivity of Pulp Fiction drivers than filmmaker love for rock 'n' roll and even theaters:
Speaking of his generation, a generation that was in the 70s, Tarantino commented that "the number one thing we all share is not music, it's a matter of the Sixties." Our culture is television. " The random list of TV programs referenced in Pulp Fiction confirms the observations: Speed ​​Racer, Cargo Coupling, The Brady Bunch, The Partridge Family, The Avengers, The Three Stooges, The Flintstones, eyes, Green Acres, Kung Fu, Happy Days, and last but not least, fictional pilot Mia, Fox Force Five .
"The list above, with the possible exception of The Avengers ," Miklitsch writes, "indicates that Pulp Fiction has a bit of elective affinity with avant-gardism rays from Godard than with mainstream network programming. "Jonathan Rosenbaum has brought TV into his analysis of the Tarantino/Godard comparison, acknowledging that the directors are equally in wanting to stuff everything they love on the screen:" But the difference between what Godard likes and what Tarantino likes and why astronomy is like compare museums, libraries, movie archives, record stores and department stores with jukeboxes, video-rental outlets, and TV Guide editions. "
Sharon Willis focused on the way television shows (Clutch Cargo ) marked the beginning, and played on, the scene between young Butch and his father's arms comrade. Vietnam War veteran was played by Christopher Walken, whose presence in that role evoked his appearance as a trauma of G.I. in the film The Vietnam War The Deer Hunter (1978). Willis writes that "when Captain Koons enters the living room, we see Walken in his function as a picture taken from a 1970s television repertoire and a film version of masculinity that was destroyed in the search for rehab... [T] he's a gray light from television leading the scene apparently describes the ghostly paternal gaze. "Miklitsch insists that, for some critics, the film is" a prime example of the destructive influence of the mass culture exemplified by banye noire: TV. " Kolker may disagree, on the grounds that "Pulp Fiction" is a simulacrum of our daily exposure to television: homophobia, thugs and perverts, sentimental boxers and pimp promoters move through a long series of take on tableaux: we watch, laugh , and still do not understand anything. "
Important motive
mysterious bag 666
The mysterious suitcase lock combination is 666, "Number of the Beast". Tarantino says there's no explanation for the content - it's just MacGuffin, a pure plot device. Originally, the box contained a diamond, but this looks too ordinary. For the purpose of filming, it contains a hidden orange light bulb that produces another world's light. In a 2007 video interview with fellow director and friend Robert Rodriguez, Tarantino was said to "uncover" the secret contents of the suitcase, but the film was cut and jumped over the scene in the style used in Tarantino and Rodriguez's Despite Tarantino's remarks, many solutions to what an unexplained "postmodern puzzle expert" has suggested. A strong similarity is often observed with the film noir 1955 Kiss Me Deadly . The film, whose protagonist, Tarantino, mentioned as a source for Butch, featured a glowing suitcase containing an atomic explosion. In their review of the 1984 Alex Jules ritually reads out what he describes as part of the Bible, Ezekiel 25:17, before he executes someone. This passage is heard three times - in the preliminary sequence in which Jules and Vincent retrieve the cursed Marsellus suitcase from Brett; the same repetition for the second time, at the beginning of "The Bonnie Situation", which overlaps with the end of the previous sequence; and at the epilogue in the restaurant. The first version of this section is as follows: Jules Bible section
The path of the righteous is attacked on all sides by the injustice of the selfish and the tyranny of the wicked. Blessed is he who in the name of good deeds and good will shepherd the weak through the valley of darkness, for he is truly the keeper of his brother and the seeker of the lost children. And I will punish you with great vengeance and fierce anger against those who try to poison and destroy my brothers. And you will know my name is God when I lie down
Source of the article : Wikipedia
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