When the menace known as the Joker emerges from his mysterious past, he wreaks havoc and chaos on the people of Gotham. The Dark Knight must accept one of the greatest psychological and physical tests of his ability to fight injustice.
Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) are two hit men who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace (Ving Rhames). Wallace has also asked Vincent to take his wife Mia (Uma Thurman) out a few days later when Wallace himself will be out of town. Butch Coolidge (Bruce Willis) is an aging boxer who is paid by Wallace to lose his fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents.Written by
Ving Rhames and Harvey Keitel have the back of their heads filmed, before their faces are shown. Although Rhames and Keitel don't share a scene, they do talk on the phone near the end of the film. See more »
(at around 1h 24 mins) When Fabienne starts talking about breakfast, she sits on the bed with her right hand on her foot. When we see her from behind, her hand is suddenly resting against her head. 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.
See more »
The opening credits end with Produced by Lawrence Bender. Usually movies end opening credits with the Director's credit, however Written and Directed by Quentin Tarantino starts the end credits. See more »
The network television version makes the following alterations:
Dubbed dialogue in Pumpkin and Honey Bunny's opening conversation
Omission of the entire scene after Vincent and Jules get off the elevator talking about foot massages
Omission of a part of the drug transaction scene starting with Vincent's discussion of how his car was keyed
Omission of the "shooting-up" sequence
The audio of Uma Thurman snorting cocaine as "Son of a Preacher Man" plays is absent
Inclusion of the "Mia Wallace" interview scene
Omission of the scene where Vincent finds Mia in her overdosed condition
Omission of the "oral pleasure" scene
When Butch opens the door to reveal the sodomy of Marsellus, an image of Maynard has been superimposed to prevent from seeing Zed's actual thrusting
Omission of the entire scene where Jules and Vincent argue after blowing Marvin's head off (both in the car and in Jimmy's bathroom)
Omission of the entire scene of Jules and Vincent cleaning up the back of the car
Among the list of words cut out: all variations of "fuck", "shit", "God damn", and "nigger". The use of the word "bitch" is permitted in some cases ("Does he look like a bitch?") but not in others ("Tell that bitch ['babe' in the TV version] to be cool!")
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.