PULP FICTION
A film review by Doug Furney
Copyright 1994 Doug Furney
Profanity, violence, and pop culture references abound in PULP FICTION, the new movie by Quentin Tarantino. Some may know Tarantino as the screenplay writer for TRUE ROMANCE or the writer-director of the critically acclaimed RESERVOIR DOGS, and just like those previous efforts the heart of PULP FICTION lies in Tarantino's brilliantly written conversations among the various characters. Dialogue fuels PULP FICTION to vividly show the contemptible lives of each character. Tarantino has the gift of propelling the movie along through the spoken word, whereas lesser creators might rely solely on action, violence or special effects. You should note that the movie is shown in a non-linear time structure reminiscent of the critically acclaimed independent film MYSTERY TRAIN, but this should not be an annoyance because the movie is basically a series of three related vignettes that individually add up to one great movie.
Quentin Tarantino has gathered a diverse cast of actors to depict the sordid and irredeemable characters that make up PULP FICTION. John Travolta and Bruce Willis both deliver surprisingly distinguished performances. Other notable cast members include Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Ving Rhames, Christopher Walken, Eric Stoltz, and Rosanna Arquette. However, the best performance in the movie goes to Samuel L. Jackson who portrays the mobster Jules Winnfield. The character of Jules has some of the film's funniest and most amusing lines, and he is the only character for whom there appears to be a chance of redemption at film's end. Although Jules may on first impression seem to be a stereotypical 1970's black gangster from SUPERFLY, SHAFT or THE MACK; he is the only character who even begins to develop a conscience and question his lifestyle. From Lance the drug dealer to Marcellus Wallace the mob boss, PULP FICTION is chock full of interesting characters portrayed by high profile actors who each deliver effective performances. Even in brief cameo appearances Christopher Walken and Harvey Keitel are memorable.
The main focus during most of the movie is the interaction between Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson), two mob hitmen. Their conversations, however trivial, are always engaging and full of humor. Vincent and Jules discuss everything from European fast food to foot massages. One of their more interesting conversations takes place while they are cleaning up the interior of a car in which Vincent accidentally shot a backseat passenger in the face, creating something of a mess.
Another high profile character is that of the double-crossing boxer Butch Coolidge (Bruce Willis). Butch is on the run from mob boss Marcellus Wallace (Ving Rhames) and goes through quite an ordeal retrieving a beloved family heirloom. The scene involving Butch, Marcellus and a couple of DELIVERANCE-inspired characters named Zed and Maynard is rather brutal and most definitely disturbing. Another shocking scene involves Vincent Vega and Marcellus' wife Mia (Uma Thurman). After Mia overdoses on heroin that she mistakes for cocaine, Vincent rushes her frantically to the house of his drug dealer, Lance (Eric Stoltz). The scene in which Vincent administers a shot of adrenaline, through her breast plate, straight to Mia's heart is full of tension and agonizing suspense.
The stories that make up PULP FICTION are degenerate tales that show tragic, pathetic and wasted lives. Although this is true, the movie is also very funny. With this paradox Tarantino has produced a movie that could be generally characterized as grotesque or Gothic. In this regard Tarantino is walking a thin line. For the same reason that one person finds the film amusing another person could see it as a horrible tragedy. Many parts of the movie conjure laughter and horror often within the same scene, yet it is this ambiguity that makes the film even more interesting.
I highly recommended this film by one of today's brightest young writers and directors. Quentin Tarantino may not have reached the status of Martin Scorcese, Oliver Stone, or Francis Ford Coppola as far as their abilities for visual impact, but no one weaves a tale quiet like Tarantino. His abilities as a storyteller are cleverly enhanced by his brilliant use of dialogue. To Tarantino words are more important than action, violence, sex, and other means aimed at shock and controversy. Tarantino will most likely be around awhile, hopefully continuing with first rate work. I would also encourage the viewing of the Tarantino scripted TRUE ROMANCE and Tarantino's directorial debut in RESERVOIR DOGS. If you liked these two then chances are you will enjoy his latest effort PULP FICTION, and if you have never seen any of these films give one a chance.
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