Quentin Tarantino’s crime saga is a thrill ride you can’t look away from

With a rare career exclusively full of hits, Quentin Tarantino is undeniably one of the most prolific filmmakers of all time, and Pulp fiction is not only an exemplary example of his unique style, but arguably still his best film. The film was Tarantino’s second directorial effort after his debut with Reservoir DogsAnd while it was seen as an independent film like the 1992 crime thriller, it was a much bigger hit, grossing over $107 million worldwide against its modest $8 million budget. It received seven Oscar nominations, winning one for Best Screenplay – Written Directly for the Screen.

Pulp fiction is a non-chronological journey through the intersecting lives of various people in Los Angeles – hitmen Jules and Vincent as they have a job go wrong, boxer Butch must go on the run after taking a bribe to throw a match, just to use the money To bet on him winning and drawing the sorrow of local gangster Marcellus Wallace, and Vincent’s night of looking after Marcellus’ wife Mia went from entertaining to nightmarish.

Pulp Fiction’s script is crackling with energy

Tarantino keeps the dialogue fresh and the characters full of life

One of the biggest reasons why Tarantino remains one of the best filmmakers is his intricate approach to writing. Whether it’s a scene with a lot of moving parts, like Mia accidentally overdosing when mixing heroin for cocaine, or a blank reflection on the difference between being a “Boom“And a nomadic wanderer searching for purpose in life, every scene feels alive and brimming with energy.

This further extends to Pulp fictions extended cast of characters. Not a single person is not captivating to watch. Given that the film has such a large ensemble, it would be understandable if a writer chose to put more effort into their main characters over smaller ones. And yet, Tarantino gives just as much thought to people with very little dialogue that makes them feel alive and just as compelling to watch as the likes of Jules, Vincent and the other main story figures.

The one point where the script falters a bit is the use of racial slurs. Tarantino has become controversial over the years for his frequent use of the n-word in his movies, something that better suits the likes of Django Unchained And The hate eight For its period settings, though, it’s a bit out of place Pulp fiction When white letters are using it. The fact that Tarantino’s character, Jimmy, went on an entire tirade about having Marvin’s body in his garage by referring to him as a “dead—-” Further exemplifies this issue, because it feels completely unnecessary.

The actors of Pulp Fiction are at the top of their games

There is a reason that Tarantino continues to work with many of these stars

While Tarantino’s script certainly sets them up for success, there’s no denying it Pulp fictionThe characters are so compelling thanks to the performances of its ensemble cast. John Travolta brings a hilarious coolness to Vincent, Samuel L. Jackson is equally strong as Jules, whether he’s touting his iconic verse Ezekiel 25:17 or arguing with Vincent over unfaithful intentions of a foot massage, and Uma Thurman is magnetic as the smooth-talking Mia.

As mentioned earlier, Pulp fictionThe supporting characters are just as compelling, and no one proves that more than Harvey Keitel’s Winston Wolfe, simply referred to as the Wolf by Marcellus, Vincent and Jules. Previously worked with Tarantino on Reservoir DogsKeitel clearly has a feel for the filmmaker’s style of writing and direction, and he runs with him to make the cleaner an enigmatic figure as he quickly lays out a game plan to clean Marvin’s dead body while also being darkly humorous through the scene.

The non-chronological structure of Poop Fiction has grown on me over time

Unfolding the story out of order better allows its characters to breathe and evolve

One of the more unique things about Pulp fiction is the non-chronological structure that Tarantino implements for the movie, beginning near the end with Tim Roth’s Pumpkin and Amanda Plummer’s Honey Bunny holding the diner hostage where Jules and Vincent have breakfast after dealing with Marvin’s body. The movie then jumps around between their first interaction with Marvin during a hit, Vincent’s night with Mia, Butch’s double crossing of Marcellus, and Marvin’s actual death.

In my previous viewings of the film, the structure always left me a little confused, not only because I wanted more time with certain characters, but also because of how certain fates play out. Vincent’s death in Butch’s story, in particular, used to leave me feeling disappointed, especially since the subsequent story is that of him and Jules’ cleaning up Marvin’s body.

With some time and perspective, however, Pulp fiction‘s non-chronological structure really grew on me and enhanced a lot of what I love about the film. It not only better allows for certain characters to be properly fleshed out, but also makes things like Vincent’s death more effective when you see how it affects the overall trajectory of the movie. And while Tarantino’s movies since have all been incredible, Pulp fiction It truly remains his magnum opus 30 years later.