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| John
Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Harvey
Keitel, Ving Rhames, Quentin Tarantino |
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Anamorphic
widescreen |
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Dolby Digital
5.1 |
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DTS |
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Trailer(s) |
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Featurette(s) |
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Documentary |
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Audio commentary
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Deleted scenes
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Concept art
/ storyboards |
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Multi-angle
feature |
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Vincent (John Travolta): And
you know what they call a... a... a Quarter Pounder with Cheese
in Paris?
Jules (Samuel L. Jackson): They don't call it a Quarter Pounder
with cheese?
Vincent: No man, they got the metric system. They wouldn't
know what the fuck a Quarter Pounder is.
Jules: Then what do they call it?
Vincent: They call it a "Royale" with cheese.
Jules: A "Royale" with cheese! What do they call
a Big Mac?
Vincent: A Big Mac's a Big Mac, but they call it "le
Big-Mac".
Jules: "Le Big-Mac"! Ha ha ha ha! What do they
call a Whopper?
Vincent: I dunno, I didn't go into Burger King.
Three intertwined stories set in the
underworld of Los Angeles.

[the following analysis is excerpted from the author's graduate
thesis Multiple
Narrative Structures in Contemporary Cinema]
A thematic analysis of the narratives in Pulp Fiction supports
[the idea of integrated narratives]. As unrelated as the stories
would
seem, there are a number of themes the stories in the film touch
upon, and that are worked out in the epilogue. If we focus on
the
two characters with the most screen time, Vincent and Jules, we
can see that each of them at one point explicitly makes a moral
choice when confronting a practical situation. In 'Vincent Vega
and Marsellus Wallace's Wife', Vincent looks at himself in the
mirror
and says: 'It's a moral test of yourself, whether or not you can
maintain loyalty. Because when people are loyal to each other,
that's
very meaningful.' He decides that loyalty is the most important
thing. Jules in 'The Bonnie Situation' decides he has witnessed
a miracle and will leave Marsellus and 'the life'. He and Vincent
have several discussions about this choice, which Vincent refuses
to accept, and which also indirectly causes the 'Bonnie Situation'.
Viewed from this perspective, the narratives in the film take on
a very clear meaning. In 'The Bonnie Situation', Jules and Vincent
are first introduced as amoral (though highly amusing) heartless
killers. After they are nearly killed themselves, Jules decides
this brush with death was one too many, and he decides to leave
this life of crime. While discussing this very issue, Vincent shoots
Marvin, who is sitting in the back of the car, in the face. Taking
care of the mess leads to more conflict between Jules and Vincent,
and strengthens Jules' resolve to 'quit the life'. When Jules and
Vincent then encounter two petty thieves holding up a diner, Jules
gives them his money, spares their lives and lets them go, a changed
man.
'Vincent
Vega and Marsellus Wallace's Wife' shows Vincent choosing loyalty
to his boss (and consequently to his life as a gangster) even over
love, as mentioned earlier. He also reveals that hehas a highly
codified sense of right and wrong: it's alright to be a professional
killer or a drug dealer, but 'you don't fuck with a man's automobile'.
Vincent then finally pays for his choice to remain loyal to Marsellus
with his life when Butch kills him in 'The Gold Watch'. This episode,
which is perhaps the least connected to the rest of the film, is
a miniature reworking of this choice between good and evil. Its
protagonist Butch double-crosses a gangster to make himself a lot
of money, but finally saves the gangster from a fate worse than
death. He also makes a moral choice and decides it would be wrong
to leave Marsellus behind. His choice is rewarded with his escape,
just like Jules' decision is.
All this shows that the characters and narratives in Pulp Fiction
each have a clear function in what is basically a morality tale:
evil is punished, good is rewarded. This is a simplification of
an extremely complex film, but it serves as a good way to make sense
of a complex structure while answering several question about the
film's order. For we first see Vincent choosing for Marsellus, then
we see him getting killed, then we see Jules choosing to quit the
life, and finally we see him 'tryin' real hard to be a shepherd'
and doing a good thing.
So apart from the fact that none of the narratives can be completely
causally separated from at least one of the others, the film would
lose its thematic structure without the combination of the three
stories told in this order. Therefore, in spite of the cues that
would seem to denote a separated multiple narrative structure, Pulp
Fiction's narratives are convincingly integrated. |
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Bare-bones, non-anamorphic releases
of Pulp Fiction have been available for Region 1
and Region 2 for some time now. The Canadian release carried
the deleted scenes
(with introduction from Tarantino) that had previously been included
on the 'special edition' VHS release of the film, and an
anamorphic
version has appeared for Region 4, without any notable
extras however.
A vastly improved two-disc Collector's Edition release finally
appeared first for Region 1 and later for European markets,
which served as a basis for this review.
The anamorphic widescreen image
is framed at an aspect ratio of approx. 2.35:1. Having seen Pulp
Fiction at least five times during its theatrical run, innumerable
times on VHS and two or three times on the non-anamorphic Canadian
DVD release, I think I can safely say I've seen the good, the bad
and the ugly of this film's various visual presentations. And though
I expected this new transfer, mastered from a new high-def master,
to be superior to any of the previous incarnations I had viewed,
I was not prepared for the flawlessly detailed and richly colored
presentation I found on this new DVD. In theaters, I remember it
looking clear but very grainy, with a somewhat pale, undersaturated
look to many scenes. This impression was furthered by later video
releases and the first DVD version, all of which suffered from an
overly bright, pale-looking transfer and pumped-up contrast levels.
The new DVD is worlds removed from any previous release, and truly
looks much better than I ever remember it looking on the big screen.
The new master was drawn from a source print in mint condition,
and colors look natural and full, without any of the pallid, contrasty
look that plagued previous versions. This new video transfer alone
would certainly justify a new purchase.
The Dolby
Digital 5.1 sound mix is also much-improved, with increased
directionality, far more bass presence, and more punch to the action
scenes and musical numbers on the score. The new DTS
track however is even better, with a continued sense of envelopment
that sounds natural, convincing and highly immersive. Pulp Fiction
has truly never looked or sounded better than this.
A watershed film and one of the most hotly debated movies of
the past decade, Tarantino's magnum opus was simply begging
for a Special Edition DVD release, and the long wait has finally
come to an end. To the disappointment of many, no audio commentary
track has been produced for this release, as Tarantino appears
to have indicated that he is sick and tired of further discussing
this picture. His only majore appearances in the extras section
are limited to previously released archival and promotional footage.
But apart from QT's refusal to contibute a yack track, it could
have been a great addition to hear some other voices while watching
the picture. Pulp Fiction was immediately embraced by the
academic community, and a well-versed film scholar could have
offered some interesting new angles for exploring a well-known
film.
In an attempt to make up for the absence of any commentary, a
Trivia Track has been included running alongside the movie
as an optional subtitle feature. Little tidbits of information
continue to appear throughout the film, some of which are simply
general cast bios, others pertain to scenes that were changed
or deleted. Another curious extra on the first disc is an alternative
scene selection screen, offering direct access to all the songs
used in the movie's soundtrack. These are however not presented
on an isolated audio track.
Disc
two holds the real meat of the extras, starting off with the 30-minute
documentary 'Pulp Facts', a curious but fairly informative
and fast-paced overview of the production, made up of cleverly
edited interview snippets culled mostly fnrom EPK material with
a few recent interviews thrown in for good measure. It's not as
comprehensive or as in-depth as one might imagine it to be, but
its tone is right and it at least makes a good selection out of
the wealth of promotional material produced for this heavily publicized
release. The deleted and extended scenes section runs close
to 25 minutes and will be familiar to those who have seen the
LaserDisc release, the 'Special Edition' VHS tape or the Canadian
DVD. Tarantino offers up a quick introduction of the scenes, plus
specific ones for the first four. The fifth missing scene is an
extended cut of the discussion between Mia and Vincent at Jack
Rabbit Slim's, and this one goes without an introduction from
the director (it also wasn't included in any previous release).
None of the famous scenes and shots fans know from the published
screenplay and other sources are to be found here, so in that
sense, this section is a little disappointing, but it's still
a nicely presented and solidly entertaining presentation.
Two behind-the-scenes featurettes are made up of raw B-roll
footage, showing Tarantino directing two separate scenes on-set.
They have a combined running time of a little over 10 minutes
and are fun to watch once. More interesting is the production
design featurette, in which the film's production designer
and set decorator discuss in detail how the sets were designed
and built. It includes lay-out sketche and great behind-the-scenes
footage of the soundstages where many of the scenes were shot.
The longest, most in-depth item on the second disc comes in the
form of the full Charlie Rose interview with Tarantino,
originally recorded and broadcast around the time of the film's
release. Rose is an excellent interviewer, and though much of
the director's background is common knowledge by now, the long
interview still yields quite a few solid points of interest, and
makes for a valuable addition. A few other items on board delve
further into the recognition and media attention the film received
upon its release. Siskel & Ebert at the Movies: The Tarantino
Generation is a full 15-minute episode in which the two popular
film critics make the case for the controversial film
and its director. Further celebration of the film and its makers
can be found in the Cannes Film Festival Acceptance Speech
footage (in which Tarantino gives an upset French lady booing
him the appropriate response) and close to 15 minutes of interview
with cast and director from the Independen Spirit Awards.
Next up would be a collection of theatrical trailers for
several countries (which are pretty much identical), and 14 TV
spots. A large Still Gallery is also included, with
sections on "Pulp Fiction Posters," "Behind the
Scenes," "Special Photo Shoot," "Production
Stills," "Academy Award Campaign and Trade Ads,"
"Location Scouting and Set Construction," "Production
Design and Logos," and "Props and Memorabilia."
Finally there's a collection of eight reviews and 12 articles
about the film. So while this may be missing the definitive documentary
and the eagerly awaited commentary track, this two-disc set still
has enough goodies to keep any true PF-addict occupied for the
better part of a long weekend.
Starting
off with newly created shots of a briefcase being unlocked on both
sides with the numbers '6-6-6', the main menu screen displays the
main naviation options in the open top of the mysterious briefcase.
(The contents of course remain unseen.) Brief shots from the film
serve as animated transitions to the other nicely animated menus
on both discs. Navigation is nicely detailed and unproblematic,
though the volume of the accompanying music cues is annoyingly high
compared to the sound volume of the extras and of the film itself.
Dan
Hassler-Forest
Reviewed: September
2, 2002
updates: June 27, 2004
Click
here for IMDB info on Pulp
Fiction.
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