Pulp Fiction (1994)

Posted By: Someonelse

Date: Aug. 14, 2011

Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jetée. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic.

IMDB - Top 250 #5
DVD Savant
DVDBeaver
DVD Movie Guide

Quentin Tarantino's Pulp Fiction made such a splash in so many different film-going circles that only years later did the furor settle down enough for it to be looked at objectively. One loves this movie or hates it, usually; it's too lively, too shocking, too dark, too wicked to be neutral on. Structurally, it is an episodic telling of a few separate interwoven stories. The film jumps back and forth in time somewhat – not excessively or gratuitously – so that we can focus on simultaneous events at different times.

The writing is what makes Pulp Fiction noteworthy at all. The story elements themselves can't carry the film – but the dialogue, each line uniquely suited to its speaker, is riveting. There is a rhythm here that compels our attention. Long scenes of much dialogue and little action are unusually engaging. When there is action, it is abrupt, shocking, and unforgettable.

I don't know if the underworld, of thugs and thieves and hitmen, resembles anything like the glimpse of it we get in Pulp Fiction. But if we absolutely must have this darker side of society in our midst, it ought to be.
At-A-Glance Film Reviews

The method of the movie is to involve its characters in sticky situations, and then let them escape into stickier ones, which is how the boxer and the mob boss end up together as the captives of weird leather freaks in the basement of a gun shop. Or how the characters who open the movie, a couple of stick-up artists played by Tim Roth and Amanda Plummer, get in way over their heads. Most of the action in the movie comes under the heading of crisis control.

If the situations are inventive and original, so is the dialogue. A lot of movies these days use flat, functional speech: The characters say only enough to advance the plot. But the people in "Pulp Fiction" are in love with words for their own sake. The dialogue by Tarantino and Avary is off the wall sometimes, but that's the fun. It also means that the characters don't all sound the same: Travolta is laconic, Jackson is exact, Plummer and Roth are dopey lovey-doveys, Keitel uses the shorthand of the busy professional, Thurman learned how to be a moll by studying soap operas.

It is part of the folklore that Tarantino used to work as a clerk in a video store, and the inspiration for "Pulp Fiction" is old movies, not real life. The movie is like an excursion through the lurid images that lie wound up and trapped inside all those boxes on the Blockbuster shelves. Tarantino once described the old pulp mags as cheap, disposable entertainment that you could take to work with you, and roll up and stick in your back pocket. Yeah, and not be able to wait until lunch, so you could start reading them again.
Excerpt from Rober Ebert's Review

Pulp Fiction won the Palme d'Or at the Cannes Film Festival. Director/writer Quentin Tarantino ("Reservoir Dogs") brings magic to the screen with his second feature film set in LA – this rambling talky film noir builds on three chronologically scrambled interrelated stories told around a prologue and epilogue. Violence and comedy are cleverly parceled out in equal proportions, as the morality of the film's main force, the Samuel L. Jackson hit man character in a world gone bonkers, is marvelously given a biblical spin when he finds religion and gives up his craft because he believes a miracle occurred that spared his life. Though the film is more entertaining than anything else, as it's played as a smart-alecky pic filled with themes freely borrowed from other films and staged dialogue that is smart enough to make a farce out of its over-the-top mayhem, its abusive racial cracks, its druggy scenarios, and its sado-masochistic anal penetration scene.

It's the filmmaker being a child and having a go at the cookie jar without receiving his parents' permission, and he's enjoying every minute of taking such liberties. The fast-paced sequences, the sharp dialogue, the high-level of energy that the sterling ensemble cast bring to the story, all make it a happy mixture of funk and snappy literacy. The film bristles with a bad attitude, making it an original film experience that conveys more weight than it actually has going for it. It has the power in its boldness to be an hypnotic and popular film that surprisingly emerges as one of the more pleasing ones in the 1990s.

The film sparkles because the dialogue is so whacky. In the opening scene a criminal couple who go by the nicknames Honey Bunny (Amanda Plummer) and Pumpkin (Tim Roth), discuss elevating their criminal stature by going from liquor store hold-ups to restaurant heists. The next sequence suddenly comes up as the opening scene ends without being resolved and will not reappear until the conclusion, as I was completely pulled into the film the moment the two hitmen, Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta), the film's principle stars, hit the screen. They are animatedly conversing in their car about Vincent's extended three year stay in Amsterdam and that McDonald's Quarter Pounders are called "Royale with cheese" in Paris because they're on the metric system. These two shine like no other movie goons do that I can recall off the top of my head, as they talk this wonderful rubbish on their way to teach a bunch of young amateur drug dealers a lesson they won't forget for messing around with their imperious boss Marsellus Wallace (Ving Rhames). Jules is a loquacious and articulate black man dressed in Jheri Kurled hair, which gives him a comical look that contrasts with the mean streak he has when he gets down to business. While Vincent is the curious and more laconic type, who seeks respect and knows his place with the ruthless mobster who is his boss.

The film's most unforgettable scene is in a 1950s theme restaurant. It's called Jack Rabbit Slim's restaurant, where the waitresses are dressed as celebrities such as Marilyn Monroe and their waiter is Buddy Holly. Vincent is asked by the vicious Marsellus to escort his irresponsible wife Mia (Uma Thurman) there for a fun evening out, where they are served $5 milkshakes and Douglas Sirk steaks while sitting in a Chrysler whose inside is fitted with a table. Vince is nervous because his partner told him that rumor has it that the extremely jealous Marsellus threw a man out of a fourth story window just because he gave his wife a foot massage. The evening almost ends in disaster when Mia O.D.'s on drugs and Vince fearing for his life rushes her to his hysterical hippie drug dealer Lance (Stoltz ) for an adrenaline injection which revives her.

Bruce Willis, as Butch, breathes more fire into the film as a hardluck boxer with multiple personalities, who is set to take a dive for Marsellus's sake. But Butch double-crosses him and kills the other boxer in the ring and plans to run away to a South Pacific island with his European girlfriend (Medeiros) from the money he made betting on himself. But he has to leave his safe hiding place to retrieve a heirloom gold watch his girlfriend forgot to pack that has been passed down to the males in the family for generations, and means so much to him because of its history. His father was a PoW during the Vietnam War, but managed to save the watch by stuffing it up his ass for five years and when he died in the camp his fellow PoW, Captain Koons (Walken), kept it up his ass for two years until he came home and gave it to Butch. Therefore it makes sense for Butch to go back to his apartment to retrieve the watch, even though he knows Marsellus might have his men there looking for him.

Butch is soon plunged into the film's most strained nightmarish episode, as he crashes into Marsellus and the two end up as sexual captives to two sadistically bent hillbillies, Zed and The Gimp (Greene and Hibbert), who dress up in leather as they plan to rape both men. On the conclusion of that sequence, the story jumps back to what happened when the hitmen started executing three of the Yuppie drug dealers and it shows them taking one of them (LaMarr) for a ride in the country when Vincent accidently shoots him when the car hits a bump on the road causing the gun to misfire. As a result, there's blood all over the car which forces them as a precaution from the police to go off the road to cleanup the mess. But they can't do it without the help of a problem-solver, Mr. Wolf (Keitel), who blazes into the pic with a high-energy black comedy performance that settles the unglued hitmen down and by his professional manner he also calms down Jimmy (Tarantino) from worrying about what will happen if his wife comes home from work and finds these gangsters with their headless victim and blood all over the car that is parked in their garage.

The film ends in the diner where it began as Amanda and Tim are in the middle of the robbery, and the now reformed criminal Jules and the unrepentant Vince are facing off with them. Jules pulls his gun on Tim and chillingly tells him, "You're the weak, and I'm the tyranny of evil men, but I'm trying real hard to be the shepherd." That's about as close as this immensely entertaining flick comes to making some sense in its storytelling. But Pulp Fiction doesn't have to deliver any messages, as Tarantino has created a wonderfully unapologetic spectacle of characters emerging from the dark side to try and wrestle with the meaning of life.
Dennis Schwartz: "Ozus' World Movie Reviews"

HQ Cover and DVDs scans are here.

Extras

DISC 1 - "Pulp Fiction"
*The Film
Soundtrack Chapter Listing
Enhanced Trivia Track
Sneak Peeks:
- "Jackie Brown DVD" (1:13)
- "Pulp Fiction Soundtrack" (1:05)
DVD-ROM Features:
- Enhanced Playback Track
- Jack Rabbit Slim's Trivia Twist
- Screenplay Viewer
- Open Mic Commentary
- Reviews And Articles

DISC 2 - "Pulp Facts"
"Pulp Fiction: The Facts" documentary (30:29)
Deleted Scenes:
- Quentin Tarantino Introduction (1:46)
- "The Drug Deal Monologue" (2:34)
- "Mia Interviewing Vincent" (5:25)
- "The Esmerelda Cab Scene" (5:55)
- "Monster Joe's Truck And Tow" (3:42)
- Extended Jack Rabbit Slim's Scene (4:53)
Behind-The-Scenes Montages:
- "Jack Rabbit Slim's" (4:44)
- "Butch Hits Marsellus" (6:02)
"Production Design" featurette (6:22)
Siskel & Ebert 'At The Movies' - "The Tarantino Generation" (15:59)
Independent Spirit Awards (11:28)
Cannes Film Festival - "Palm d'Or Acceptance Speech" (5:19)
Charlie Rose Show (55:24)
Theatrical Trailers:
- US Theatrical Trailer (2:35)
- UK Theatrical Trailer (1:05)
- French Theatrical Trailer (2:32)
- German Theatrical Trailer (2:35)
- Japanese Theatrical Trailer (2:17)
TV Spots:
- 'Question' (0:15)
- 'Electrifying' (0:16)
- 'Event' (0:16)
- 'Reaction' (0:16)
- 'Nominations' (0:16)
- 'John' (0:16)
- 'Question/Review' (0:31)
- 'Review' (0:31)
- 'On The Move' (0:31)
- 'Movie Event' (0:31)
- 'React/Review' (0:31)
- 'Academy 7' (0:31)
- 'Travolta Academy' (0:31)
Still Galleries:
- Pulp Fiction Posters (48images)
- Behind The Scenes Photos (70images)
- Special Photo Shoots (42images)
- Production Stills (78images)
- Academy Award Campaign And Trade Ins (48images)
- Location Scouting And Set Construction (27images)
- Production Design And Logos (15images)
- Props And Memorabilia (71images)
Reviews And Articles:
- 8 Reviews (79pages)
- 12 Articles (154pages)

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http://filepost.com/files/97a447d9/PulFic.1994.CE.Disc2.AH.part16.rar
http://filepost.com/files/631b65fa/PulFic.1994.CE.Disc2.AH.part17.rar
http://filepost.com/files/56ab5815/PulFic.1994.CE.Disc2.AH.part18.rar
http://filepost.com/files/18431aad/PulFic.1994.CE.Disc2.AH.part19.rar
http://filepost.com/files/c5f855de/PulFic.1994.CE.Disc2.AH.part20.rar
http://filepost.com/files/f1284ef4/PulFic.1994.CE.Disc2.AH.part21.rar

Fileserve

http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part01.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part02.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part03.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part04.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part05.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part06.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part07.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part08.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part09.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part10.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part11.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part12.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part13.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part14.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part15.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part16.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part17.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part18.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part19.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part20.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc1.AH.part21.rar

http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part01.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part02.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part03.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part04.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part05.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part06.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part07.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part08.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part09.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part10.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part11.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part12.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part13.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part14.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part15.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part16.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part17.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part18.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part19.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part20.rar
http://www.fileserve.com/file/...ic.1994.CE.Disc2.AH.part21.rar

Interchangable links.