Pulp Fiction Review
Quentin Tarantino’s 1994 box office hit Pulp Fiction created a new genre: film noir with the sarcasm and disillusionment of the ‘90’s. Base situations and low-life characters somehow do not come off as dramatic and shocking, but rather as ordinary and understandable. Tarantino, a self-taught, one-time video store clerk, has made a film not based on reality but based on film. Pulp Fiction is a tongue-in-cheek look at typical movie clichés, ranging from the dangerous life of a mobster to the returning of a patriotic war hero. While Pulp Fiction is only occasionally laugh-out-loud funny, a smirk remains painted on the lips of its viewers through out the duration of the two and a half hour film. The extraordinary somehow becomes ordinary and the ordinary somehow seems inappropriate. Perhaps it is the nonchalance with which Tarantino approaches drug use and violence that has offended so many people, but conversely, it is that same casual nature that makes the film void of judgment and therefore draws people to it. The screenplay, written by Tarantino and Roger Avary, is quick and witty. Action is cushioned by dialogue, and even without action, the dialogue is strong enough to stand on its own. The most enjoya . . .
The female lead, Uma Thurman, plays Mia: the intriguing, witty wife of Marcellus Wallace, the big gangster boss of Vincent, Jules, and the greater L. ble banter takes place between organized-crime partners, Jules and Vincent Vega. Jackson is cast as Vincent Vega’s better half, Jules. Lines which could potentially seem over-the-top, through the assistance of Jackson’s amazing screen presence, come across as intimidating and oh-so-cool. Travolta’s cool-man front is stripped when he finds Mia (Uma Thurman’s character) O. The dialogue between Jackson and Travolta primarily takes place before or after they kill someone. Once again, the juxtaposition of dialogue and imminent crime startle the viewer into acceptance. Travolta gives a stellar performance, making a cocky, middle-aged thug seem harmless, charming, and oddly loveable. Willis’s character, Butch, returns after escaping potential rape to save his gangster enemy from the wrath of racist sex-offenders; hence redeeming himself from the threat of Marcellus Wallace’s goons. The scene begins with stark, die-hard patriotism, and veers off to become something wickedly humorous. There is virtually no nudity, no explicit sex, no exploitation of women, and no employment of the racism generally associated with gangsters and drug use. Richard Corliss attributes the popularity of the film to its being a cultural hybrid: “The blood and gore, the cheeky patter, the taunting mise-en-scene are all very American…but Tarantino’s hard guys also reflect a European sensibility… they talk about everything accept what matters. Vincent Vega, played by John Travolta, is a well-intentioned hit man who, despite his arrogance, usually screws things up. For example, we see Travolta get killed halfway through the film only to see him reappear in the final scenes of the movie.
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