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Pulp Fiction
Promotional artwork
Directed by Quentin Tarantino
Produced by Lawrence Bender
Written by Quentin Tarantino
Roger Avary
Starring John Travolta
Samuel L. Jackson
Uma Thurman
Harvey Keitel
Tim Roth
Amanda Plummer
Maria de Medeiros
Ving Rhames
Eric Stoltz
Rosanna Arquette
Christopher Walken
and Bruce Willis
Cinematography Andrzej Sekula
Editing by Sally Menke
Distributed by Miramax Films
(U.S. theatrical)
Release date(s) May 1994
(world premiere—Cannes Film Festival)
September 23, 1994
(U.S. premiere—New York Film Festival)[1]
October 14, 1994
(U.S. general release)[2]
Running time 154 min.
Country United States
Language English
Budget US$8.5 million
Gross revenue US$107.9 million (domestic)
US$212.9 million (worldwide)
Pulp Fiction (1994) is an American crime film directed by Quentin Tarantino, who cowrote its screenplay with Roger Avary. The film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did costars Samuel L. Jackson and Uma Thurman. copyright ybarra-cgm
Directed in a highly stylized manner, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". The plot, in keeping with most of Tarantino's other works, is presented out of chronological sequence.
The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy,[3] the film is also frequently labeled a "neo-noir".[4] Critic Geoffrey O'Brien argues otherwise: "The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir".[5] Similarly, Nicholas Christopher calls it "more gangland camp than neo-noir",[6] and Foster Hirsch suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label.[7] Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. A watershed within Anglophone popular culture, Pulp Fiction's influence has been felt in several other media. ybarra-cgm.com
Plot
Prologue
"Pumpkin" (Tim Roth) and "Honey Bunny" (Amanda Plummer) are having breakfast in a diner. They decide to rob it after realizing they could make money off not just the business but the customers as well, as occurred during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll.
Prelude to "Vincent Vega and Marsellus Wallace's Wife"
As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned—the hash bars in Amsterdam; the French McDonald's and its "Royale with Cheese." The dress-suited pair are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace. Jules tells Vincent that Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says that Marsellus has asked him to escort his wife while Marsellus is out of town. They conclude their banter and "get into character," which involves executing Brett in dramatic fashion after Jules recites a baleful "biblical" pronouncement
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