Pulp Fiction
Pulp Fiction (1994)

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Just because you are a character doesn't mean you have character. 1994/9/10 154 min.


From any angle that intends to analyze Pulp Fiction, the conclusion is inevitable that it was not only one of the most important films of the 90s, but also a great influencer for an entire generation, a cinematic watershed, so to speak. The unmistakable style of filming that Quentin Tarantino so well established with his Dogs of Alguel just two years before, amalgamating varied techniques in a unique and original result has gained a kind of anticipated climax with Pulp Fiction, since, normally, renowned filmmakers have a significant growth curve, which can take decades, to reach its peak. And I don't even dare to state categorically, after all these years, that Tarantino's second feature is really its highest point, because I really couldn't say anymore; however, without any doubt, this is the film that opened the doors for the director once and for all, and also more profoundly and immediately immiscibly immisced himself in pop culture, with a veritable avalanche of iconic dialogues, unforgettable songs and sequences, watch it now.

This is a question that can have a myriad of answers, all of which are valid. I have for myself, however, that the great highlight of the work is the way Tarantino, who wrote the script based on stories created by him and by Roger Avary, tells three stories - four, if we count on the couple who try to steal one diner that opens and closes the projection - substantially independent, inspired by the type of literature that the title opens up, in a complex non-linear narrative structure, each with its own beginning, middle and end, but which dialogue with each other within the general theme of the underworld of thugs in and around Los Angeles. Once again, the filmmaker remakes, in his image, the aforementioned feature of nonlinear editing, something he had already sketched in his first film, but which, here, is part of the structural foundations of narrative progression. We see some great unquestionable classics like Citizen Kane, Rashomon and Annie Hall who have ventured down this path, with unquestionable success, but with a very personal, very personal footprint from the director - maybe we can call it ‚ÄúTarantino touch‚ÄĚ, but that was only really possible thanks, again, to the impeccable work of his long-time partner Sally Menke on the publishing island.

If anything, Tarantino rescued this technique, repackaged it and re-presented it to an audience that received it in awe, even veterans at the time. And it is perfectly possible to see how true this is when we stop to mentally enumerate the number of post-Pulp Fiction films that, to a greater or lesser extent, openly used the same technique, some with spectacular results like Amnesia and City of God. The transformation - or, perhaps, appropriation - of the non-linear narrative as something of its own, I would say that this is one of Tarantino's most misunderstood characteristics. The director is accused of copying, plagiarizing and all kinds of synonyms for it, as if no other director did the same or as if Tarantino himself had not already stated that he does refer to works he likes to a greater or lesser degree. But what the director knows how to do is turn everything he copies or borrows into something that is easily identifiable as his. We know that we are facing a Tarantino film even if we are presented to the work in half. The same can be said of directors like Woody Allen and Steven Spielberg. Whether this is a good or a bad thing, it is not up to us to judge. What is evident is that Tarantino knows how to convert what apparently is commonplace in his signature and that’s what he did with the non-linear narrative in Pulp Fiction: he transformed the basics into a structure that unfolds in several parallel stories and, at times tangential, which, in the end, make evident the dominance that the director has over the camera and the montage, in addition to the ever present and always perfect soundtrack, another cinematic watershed, by the way.

It is not every film that achieves this type of feat: being a pop phenomenon in its own time and, at the same time, being a work that demonstrates the most absolute control of camera and montage, watch online this masterpiece. Pulp Fiction, with all its extreme violence (it has pieces of brain in the hair of Vince and Jules!), Is a delight for the eyes and ears, in addition to being instructive. After all, where else would you know that in Amsterdam they serve beer in glass cups at the cinema or that foot massage always has a sexual connotation?

Original title Pulp Fiction
TMDb Rating 9.1 20716 votes
Average: 9.1 / 10 (20716 votes)
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