A lot of movies these days use flat, functional speech: The characters say only enough to advance the plot. If the situations are inventive and original, so is the dialogue.
Pulp fiction movie movie#
Most of the action in the movie comes under the heading of crisis control. 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. 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. Walken's monologue builds to the movie's biggest laugh. The history of this watch is described in a flashback, as Vietnam veteran Christopher Walken tells young Butch about how the watch was purchased by his great-grandfather, "Private Doughboy Orion Coolidge," and has come down through the generations - and through a lot more than generations, for that matter. She's his sweet, naive girlfriend, who doesn't understand why they have to get out of town "right away." But first he needs to make a dangerous trip back to his apartment to pick up a priceless family heirloom - a wristwatch. That's before she overdoses and Stoltz, waving a syringe filled with adrenaline, screams at Travolta, "YOU brought her here, YOU stick in the needle! When I bring an O.D. to YOUR house, I'LL stick in the needle!" Bruce Willis and Maria de Medeiros play another couple: He's a boxer named Butch Coolidge who is supposed to throw a fight, but doesn't. They go to Jack Rabbit Slim's, a 1950s theme restaurant where Ed Sullivan is the emcee, Buddy Holly is the waiter, and they end up in a twist contest.
He turns up stoned, and addresses an intercom with such grave, stately courtesy Buster Keaton would have been envious. She's the wife of the mob boss ( Ving Rhames), who orders Travolta to take her out for the night. Travolta and Uma Thurman have a sequence that's funny and bizarre. Wolf ( Harvey Keitel), who specializes in messes, and has friends like the character played by Eric Stoltz, who owns a big medical encyclopedia, and can look up emergency situations.
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Not only does he kill people inadvertently ("The car hit a bump!") but he doesn't know how to clean up after himself.
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Travolta's career is a series of assignments he can't quite handle. 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. Jackson) they're on their way to a violent showdown with some wayward Yuppie drug dealers, and are discussing such mysteries as why in Paris they have a French word for Quarter Pounders. We see him first with his partner Jules ( Samuel L.
John Travolta stars as Vincent Vega, a mid-level hit man who carries out assignments for a mob boss. The movie resurrects not only an aging genre but also a few careers. Like those old pulp mags named "Thrilling Wonder Stories" and "Official Detective," the movie 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 of doom. It doubles back on itself, telling several interlocking stories about characters who inhabit a world of crime and intrigue, triple-crosses and loud desperation.
The screenplay, by Tarantino and Roger Avary, is so well-written in a scruffy, fanzine way that you want to rub noses in it - the noses of those zombie writers who take "screenwriting" classes that teach them the formulas for "hit films." Like " Citizen Kane," "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.
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