Pulp Fiction
Introducing
a film such as Quentin Tarantino’s Pulp Fiction takes much patience and
significant artistry with words. Tarantino’s work is an audacious, outrageous
look at honor among lowlifes, told in a somewhat radical style overlapping a
handful of separate stories. "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" (R.Ebert). Introducing a film such as Quentin

Tarantino’s Pulp Fiction takes much patience and significant artistry with
words. Tarantino’s work is an audacious, outrageous look at honor among
lowlifes, told in a somewhat radical style overlapping a handful of separate
stories. "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" (R.Ebert). The title is perfect. Like those old pulp magazines
named "Thrilling Wonder Stories" and "Official Detective",
the film 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.

Or at least there are no ordinary days for those who don’t consider tactless
and accidental murder to be part of their everyday agenda and occupation. The
characters in this film separate societal normality from personal normality. For
example, Jackson and Travolta are magnetic as a pair of hit-men who have
philosophical debates on a regular basis. These characters continue to think
that they’re "just doing their job" and that there jobs are for the
same purpose as any body else’s job - to get paid and then to, in return, pay
the bills. Societal norms push the audience to believe that these characters
along with Ving Rhames, (Marsellus Wallace), are misfits and should be
"taken care of". Tarantino starts us off with a dual definition of
"pulp" one being "a soft, moist, shapeless, mass of matter"
and two being "a book containing lurid subject matter, and being
characteristically printed on rough, unfinished paper". This introduces the
audience to the presentation of the film. It’s segmented structure is

Tarantino’s way of playing with the audience’s perceptions. The
entertainment throughout Pulp Fiction is scintillating, it captures the audience
and forces them to piece the segments together in order to form one complete
story. Hence the title containing the word "pulp" and the product
being "rough" and somewhat "unfinished" to the viewer. This
voluble, violent, pumped-up movie isn’t for every taste, not for the
squeamish, but it’s got more vitality than almost any other film of 1994. The
screenplay by Tarantino and Avary is so well written in a psoriatic yet potent
way that you’ll want to rub noses in it - the noses of all those zombie
writers who take "screenwriting classes that teach them the formulas for
writing "hit films". 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
desperation. Vincent Vega (Travolta) and partner Jules Winnfield (Jackson) are a
couple of mid-level hit-men who carry out assignments for a mob boss. We see
them first on their way to a violent showdown 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. Vince’s and Jule’s careers
are a series of assignments that they can’t quite handle. Especially

Travolta’s character, 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 the two of them know people like Mr. Wolf (Harvey Keitel) who specializes
in messes; and has friends like Lance (Eric Stoltz) who owns a "big medical
encyclopedia" for emergency situations. Uma Thurman can tell you about
those medical procedures. Bruce Willis is compelling as a crooked boxer whose
plan to take it on the lam hits a few detours. Butch Coolidge (Willis) is
supposed to throw a fight but bails and looses Marsellus (Rhames) a lot of loot.

Butch and his girly are to ditch town ASAP but first he needs to make a
dangerous trip back to his apartment for a valuable family heirloom. The history
of this heirloom is described through a flashback dream narrated by Christopher

Walken, a Vietnam veteran. Walken’s dialogue build to the movie’s biggest
laugh. The