FREE ESSAY ON I'LL HAVE A ROYAL WITH CHEESE

I'LL HAVE A ROYAL WITH CHEESE

Introducing a film such as Quentin Tarantino's Pulp Fiction takes much patience and
significant artistry with words. Tarantino's work is an audacious, outrageous look at
honor among lowlifes, told in a somewhat radical style overlapping a handful of separate
stories. Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who
doesn't care if he tears up the piano, as long as everybody is rocking (R.Ebert). 
Introducing a film such as Quentin Tarantino's Pulp Fiction takes much patience and
significant artistry with words. Tarantino's work is an audacious, outrageous look at
honor among lowlifes, told in a somewhat radical style overlapping a handful of separate
stories. Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who
doesn't care if he tears up the piano, as long as everybody is rocking (R.Ebert). 
The title is perfect. Like those old pulp magazines named Thrilling Wonder Stories and
Official Detective, the film creates a world where there are no normal people and no
ordinary days; where breathless prose clatters down fire escapes and leaps into the
dumpster. Or at least there are no ordinary days for those who don't consider tactless
and accidental murder to be part of their everyday agenda and occupation. The characters
in this film separate societal normality from personal normality. For example, Jackson
and Travolta are magnetic as a pair of hit-men who have philosophical debates on a
regular basis. These characters continue to think that they're just doing their job and
that there jobs are for the same purpose as any body else's job - to get paid and then
to, in return, pay the bills. Societal norms push the audience to believe that these
characters along with Ving Rhames, (Marsellus Wallace), are misfits and should be taken
care of. 
Tarantino starts us off with a dual definition of pulp one being a soft, moist,
shapeless, mass of matter and two being a book containing lurid subject matter, and being
characteristically printed on rough, unfinished paper. This introduces the audience to
the presentation of the film. It's segmented structure is Tarantino's way of playing with
the audience's perceptions. The entertainment throughout Pulp Fiction is scintillating,
it captures the audience and forces them to piece the segments together in order to form
one complete story. Hence the title containing the word pulp and the product being rough
and somewhat unfinished to the viewer. 
This voluble, violent, pumped-up movie isn't for every taste, not for the squeamish, but
it's got more vitality than almost any other film of 1994. The screenplay by Tarantino
and Avary is so well written in a psoriatic yet potent way that you'll want to rub noses
in it - the noses of all those zombie writers who take screenwriting classes that teach
them the formulas for writing hit films. Pulp Fiction is constructed in such a nonlinear
way that you could see it a dozen times and not be able to remember what comes next. It
doubles back on itself telling several interlocking stories about characters who inhabit
a world of crime and intrigue, triple-crosses and desperation.
Vincent Vega (Travolta) and partner Jules Winnfield (Jackson) are a couple of mid-level
hit-men who carry out assignments for a mob boss. We see them first on their way to a
violent showdown discussing such mysteries as why in Paris they have a French word for
Quarter Pounders. They're as innocent in their way as Huck and Jim, floating down the
Mississippi and speculating on how foreigners can possibly understand each other. Vince's
and Jule's careers are a series of assignments that they can't quite handle. Especially
Travolta's character, not only does he kill people inadvertently (The car hit a bump) but
he doesn't know how to clean up after himself. Good thing the two of them know people
like Mr. Wolf (Harvey Keitel) who specializes in messes; and has friends like Lance (Eric
Stoltz) who owns a big medical encyclopedia for emergency situations. Uma Thurman can
tell you about those medical procedures.
Bruce Willis is compelling as a crooked boxer whose plan to take it on the lam hits a few
detours. Butch Coolidge (Willis) is supposed to throw a fight but bails and looses
Marsellus (Rhames) a lot of loot. Butch and his girly are to ditch town ASAP but first he
needs to make a dangerous trip back to his apartment for a valuable family heirloom. The
history of this heirloom is described through a flashback dream narrated by Christopher
Walken, a Vietnam veteran. Walken's dialogue build to the movie's biggest laugh. 
The method of the movie is to involve its characters in sticky situations, and then let
them escape into sticker ones, which is how the boxer and mob boss end up together as the
captives of weird leather freaks in the basement of a pawn shop. Or how the characters
who open the movie, a couple of stick-up artists (Tim Roth and Amanda Plummer) get in way
over their heads. Most of the action in the movie comes under the heading of crisis
control. If the situations are inventive and original, so is the dialogue. A lot of films
these days use flat, functional speech; The characters say only enough to advance the
plot. The characters in Pulp Fiction are in love with words for their own sake. Many of
them don't listen but wait to talk. The dialogue is off the wall at times and some things
seem to be said at peculiar moments where the normal movie viewer might not make complete
sense of it, but that's the fun. 
The movie is like an excursion through the lurid images that lie wound up and trapped
inside all those boxes on the Blockbuster shelves. Tarantino once described the old pulp
magazines as cheap, disposable entertainment that you could take to work with you rolled
up and stuck in your back pocket. Yeah, and not be able to wait for lunch so that you
could start reading them again. 
Quentin Tarantino, the creator of the lethal thrillers, True Romance and Reservoir Dogs
returns with his most thrilling piece yet: a pure adrenaline rush guaranteed to leave you
gasping. Boasting a stellar cast including John Travolta, Samuel L. Jackson, Uma Thurman,
Harvey Keitel, Rosanna Arquette, Christopher Walken and Bruce Willis, his Best Picture
winner at the Cannes Film Festival and Academy Award Winner for Best Original Screenplay
is one exhilarating ride from start to finish. We dare you to step aboard. 
Video Blurb, Pulp Fiction, 1994.
The title is perfect. Like those old pulp magazines named Thrilling Wonder Stories and
Official Detective, the film creates a world where there are no normal people and no
ordinary days; where breathless prose clatters down fire escapes and leaps into the
dumpster. Or at least there are no ordinary days for those who don't consider tactless
and accidental murder to be part of their everyday agenda and occupation. The characters
in this film separate societal normality from personal normality. For example, Jackson
and Travolta are magnetic as a pair of hit-men who have philosophical debates on a
regular basis. These characters continue to think that they're just doing their job and
that there jobs are for the same purpose as any body else's job - to get paid and then
to, in return, pay the bills. Societal norms push the audience to believe that these
characters along with Ving Rhames, (Marsellus Wallace), are misfits and should be taken
care of. 
Tarantino starts us off with a dual definition of pulp one being a soft, moist,
shapeless, mass of matter and two being a book containing lurid subject matter, and being
characteristically printed on rough, unfinished paper. This introduces the audience to
the presentation of the film. It's segmented structure is Tarantino's way of playing with
the audience's perceptions. The entertainment throughout Pulp Fiction is scintillating,
it captures the audience and forces them to piece the segments together in order to form
one complete story. Hence the title containing the word pulp and the product being rough
and somewhat unfinished to the viewer. 
This voluble, violent, pumped-up movie isn't for every taste, not for the squeamish, but
it's got more vitality than almost any other film of 1994. The screenplay by Tarantino
and Avary is so well written in a psoriatic yet potent way that you'll want to rub noses
in it - the noses of all those zombie writers who take screenwriting classes that teach
them the formulas for writing hit films. Pulp Fiction is constructed in such a nonlinear
way that you could see it a dozen times and not be able to remember what comes next. It
doubles back on itself telling several interlocking stories about characters who inhabit
a world of crime and intrigue, triple-crosses and desperation.
Vincent Vega (Travolta) and partner Jules Winnfield (Jackson) are a couple of mid-level
hit-men who carry out assignments for a mob boss. We see them first on their way to a
violent showdown discussing such mysteries as why in Paris they have a French word for
Quarter Pounders. They're as innocent in their way as Huck and Jim, floating down the
Mississippi and speculating on how foreigners can possibly understand each other. Vince's
and Jule's careers are a series of assignments that they can't quite handle. Especially
Travolta's character, not only does he kill people inadvertently (The car hit a bump) but
he doesn't know how to clean up after himself. Good thing the two of them know people
like Mr. Wolf (Harvey Keitel) who specializes in messes; and has friends like Lance (Eric
Stoltz) who owns a big medical encyclopedia for emergency situations. Uma Thurman can
tell you about those medical procedures.
Bruce Willis is compelling as a crooked boxer whose plan to take it on the lam hits a few
detours. Butch Coolidge (Willis) is supposed to throw a fight but bails and looses
Marsellus (Rhames) a lot of loot. Butch and his girly are to ditch town ASAP but first he
needs to make a dangerous trip back to his apartment for a valuable family heirloom. The
history of this heirloom is described through a flashback dream narrated by Christopher
Walken, a Vietnam veteran. Walken's dialogue build to the movie's biggest laugh. 
The method of the movie is to involve its characters in sticky situations, and then let
them escape into sticker ones, which is how the boxer and mob boss end up together as the
captives of weird leather freaks in the basement of a pawn shop. Or how the characters
who open the movie, a couple of stick-up artists (Tim Roth and Amanda Plummer) get in way
over their heads. Most of the action in the movie comes under the heading of crisis
control. If the situations are inventive and original, so is the dialogue. A lot of films
these days use flat, functional speech; The characters say only enough to advance the
plot. The characters in Pulp Fiction are in love with words for their own sake. Many of
them don't listen but wait to talk. The dialogue is off the wall at times and some things
seem to be said at peculiar moments where the normal movie viewer might not make complete
sense of it, but that's the fun. 
The movie is like an excursion through the lurid images that lie wound up and trapped
inside all those boxes on the Blockbuster shelves. Tarantino once described the old pulp
magazines as cheap, disposable entertainment that you could take to work with you rolled
up and stuck in your back pocket. Yeah, and not be able to wait for lunch so that you
could start reading them again. 
Quentin Tarantino, the creator of the lethal thrillers, True Romance and Reservoir Dogs
returns with his most thrilling piece yet: a pure adrenaline rush guaranteed to leave you
gasping. Boasting a stellar cast including John Travolta, Samuel L. Jackson, Uma Thurman,
Harvey Keitel, Rosanna Arquette, Christopher Walken and Bruce Willis, his Best Picture
winner at the Cannes Film Festival and Academy Award Winner for Best Original Screenplay
is one exhilarating ride from start to finish. We dare you to step aboard. 
Video Blurb, Pulp Fiction, 1994.