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Pulp Fiction  (1993)

Quentin Tarantino
John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Harvey Keitel, Ving Rhames, Quentin Tarantino
Anamorphic widescreen
Dolby Digital 5.1
DTS
Trailer(s)
Featurette(s)
Documentary
Audio commentary
Deleted scenes
Concept art / storyboards
Multi-angle feature
Quote
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.

Plot summary
Three intertwined stories set in the underworld of Los Angeles.

Film review

[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.
Version control
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.

Picture and sound
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.

Added value

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

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