Jules Winnfield and Vincent Vega are two hitmen who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace. Wallace has also asked Vincent to take his wife Mia out a few days later when Wallace himself will be out of town. Butch Coolidge is an aging boxer who is paid by Wallace to lose his next fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents. Written by
Mia Wallace's comment "An Elvis man should love this" is a reference to an earlier scene (cut from some television versions) where Mia claims that everyone can be classified as either an "Elvis" (Elvis Presley) person or a "Beatles" (The Beatles) person. She bets Vincent that he is an "Elvis", and he confirms it. It is also worth noting that Jules calls Tim Roth's character "Ringo," as a reference to the Beatle's drummer Ringo Star, thus making him a Beatles person. See more »
(at around 1h 22 mins) In the Gold Watch scene, when Fabienne's reflection is shown in the motel room TV screen, it is a full body reflection. The TV is too high, and she is too close to it for that to be possible. See more »
Forget it. Too risky. I'm through doing that shit.
You always say that. That same thing every time, "I'm through, never again, too dangerous".
I know that's what I always say. I'm always right, too.
But you forget about it in a day or two.
Yeah, well the days of me forgetting are over, and the days of me remembering have just begun.
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Emil Sitka . . . "Hold Hands, You Love Birds!" See more »
Son Of A Preacher Man
Written by John Hurley, Ronnie Wilkins
Performed by Dusty Springfield
Courtesy of Atlantic Recording Corp.
By Arrangement with Warner Special Products & Polygram Record Operations Limited See more »
I can only speak for myself, but I had never seen anything as stylish, cleverly constructed, well written and electrifying as this milestone when I first saw it in 1994. What really pulled me in right from the start is what we've now come to know as a Tarantino trademark: the dialogue. When gangsters Jules and Vincent talk to each other (or all the other characters, for that matter) there is a natural flow, a sense of realism and yet something slightly over the top and very theatrical about their lines it's a mixture that immediately grabs your attention (even if it's just two dudes talking about what kind of hamburger they prefer, or contemplating the value of a foot-massage). Then there's the music: the songs Tarantino chose for his masterpiece fit their respective scenes so perfectly that most of those pieces of music are now immediately associated with 'Pulp Fiction'. And the narrative: the different story lines that come together, the elegantly used flashbacks, the use of "chapters" there is so much playful creativity at play here, it's just a pure joy to watch.
If you're a bit of a film geek, you realize how much knowledge about film and love for the work of other greats and inspiration from them
went into this (Leone, DePalma, Scorsese and, of course, dozens of
hyper-stylized Asian gangster flicks), but to those accusing Tarantino of copying or even "stealing" from other film-makers I can only say: There has never been an artist who adored his kind of art that was NOT inspired or influenced by his favorite artists. And if you watch Tarantino's masterpiece today, it's impossible not to recognize just what a breath of fresh air it was (still is, actually). Somehow, movies
especially gangster films - never looked quite the same after 'Pulp
Fiction'. Probably the most influential film of the last 20 years, it's got simply everything: amazing performances (especially Sam Jackson); it features some of the most sizzling, iconic dialogue ever written; it has arguably one of the best non-original soundtracks ever - it's such a crazy, cool, inspirational ride that you feel dizzy after watching it for the first time. It's well: it's 'Pulp Fiction'. 10 stars out of 10.