8.9/10
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Pulp Fiction (1994)

Trailer
1:21 | Trailer
The lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

Director:

Quentin Tarantino

Writers:

Quentin Tarantino (stories), Roger Avary (stories) | 1 more credit »
Popularity
107 ( 6)
Top Rated Movies #8 | Won 1 Oscar. Another 69 wins & 75 nominations. See more awards »

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Photos

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Cast

Cast overview, first billed only:
Tim Roth ... Pumpkin
Amanda Plummer ... Honey Bunny
Laura Lovelace ... Waitress
John Travolta ... Vincent Vega
Samuel L. Jackson ... Jules Winnfield
Phil LaMarr ... Marvin
Frank Whaley ... Brett
Burr Steers ... Roger
Bruce Willis ... Butch Coolidge
Ving Rhames ... Marsellus Wallace
Paul Calderon ... Paul
Bronagh Gallagher ... Trudi
Rosanna Arquette ... Jody
Eric Stoltz ... Lance
Uma Thurman ... Mia Wallace
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Storyline

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 Soumitra

Plot Summary | Plot Synopsis

Taglines:

From the creators of 'True Romance' & 'Reservoir Dogs' See more »

Genres:

Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong graphic violence and drug use, pervasive strong language and some sexuality | See all certifications »

Parents Guide:

View content advisory »
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Did You Know?

Trivia

The largest chunk of the budget, $150,000, went to creating the Jack Rabbit Slim's set. See more »

Goofs

(at around 15 mins) The amount of Brett's burger that has been eaten as Jules picks it up. Also, the burger itself changes between shots: when Jules picks it up it looks like a simple cheeseburger, then lettuce appears on the bottom of the burger once he takes a bite. See more »

Quotes

[first lines]
Pumpkin: Forget it. Too risky. I'm through doing that shit.
Yolanda: You always say that. That same thing every time, "I'm through, never again, too dangerous".
Pumpkin: I know that's what I always say. I'm always right, too.
Yolanda: But you forget about it in a day or two.
Pumpkin: Yeah, well the days of me forgetting are over, and the days of me remembering have just begun.
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Crazy Credits

In the opening credits, the music changes as if it were on the radio just as the credit for "Music Supervisor" appears on the screen. See more »

Alternate Versions

The Canadian DVD version of the film includes the two alternate scenes mentioned above, plus a few additional ones. A longer scene of Vincent Vega purchasing heroin at Lance (Eric Stoltz)'s house, complaining about how rude people are. Eric's character complains about how he had asked for directions one time and was given incorrect instructions. Another additional scene takes place in Esmarelda's cab, where Butch does a lengthier explanation of how he feels about killing the man in the boxing ring. The other scene included on this DVD takes place at the auto parts yard, where Winston Wolf and the yard owner's daughter flirt and make plans for breakfast. All of the deleted scenes are shown in a separate section of the DVD, introduced by Tarantino, and are not included in the actual film. See more »

Connections

References The Ed Sullivan Show (1948) See more »

Soundtracks

Jungle Boogie
Written by Ronald Bell, Claydes Smith, George Funky Brown (as George Brown), Robert Spike Mickens (as Robert Mickens), Donald Boyce, Richard Westfield, Dennis D.T. Thomas (as Dennis Thomas), and Robert Kool Bell (as Robert Bell)
Performed by Kool & The Gang
Courtesy of Polygram Special Markets
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User Reviews

 
The masterpiece without a message
17 November 2005 | by kylopodSee all my reviews

One of the early scenes in "Pulp Fiction" features two hit-men discussing what a Big Mac is called in other countries. Their dialogue is witty and entertaining, and it's also disarming, because it makes these two thugs seem all too normal. If you didn't know better, you might assume these were regular guys having chit-chat on their way to work. Other than the comic payoff at the end of the scene, in which they use parts of this conversation to taunt their victims, their talk has no relevance to anything in the film, or to anything else, for that matter. Yet without such scenes, "Pulp Fiction" wouldn't be "Pulp Fiction." I get the sense that Tarantino put into the film whatever struck his fancy, and somehow the final product is not only coherent but wonderfully textured.

It's no wonder that fans spend so much time debating what was in the suitcase, reading far more into the story than Tarantino probably intended. The film is so intricately structured, with so many astonishing details, many of which you won't pick up on the first viewing, that it seems to cry out for some deeper explanation. But there is no deeper explanation. "Pulp Fiction," is, as the title indicates, purely an exercise in technique and style, albeit a brilliant and layered one. Containing numerous references to other films, it is like a great work of abstract art, or "art about art." It has all the characteristics we associate with great movies: fine writing, first-rate acting, unforgettable characters, and one of the most well-constructed narratives I've ever seen in a film. But to what end? The self-contained story does not seem to have bearing on anything but itself.

The movie becomes a bit easier to understand once you realize that it's essentially a black comedy dressed up as a crime drama. Each of the three main story threads begins with a situation that could easily form the subplot of any standard gangster movie. But something always goes wrong, some small unexpected accident that causes the whole situation to come tumbling down, leading the increasingly desperate characters to absurd measures. Tarantino's originality stems from his ability to focus on small details and follow them where they lead, even if they move the story away from conventional plot developments.

Perhaps no screenplay has ever found a better use for digressions. Indeed, the whole film seems to consist of digressions. No character ever says anything in a simple, straightforward manner. Jules could have simply told Yolanda, "Be cool and no one's going to get hurt," which is just the type of line you'd find in a generic, run-of-the-mill action flick. Instead, he goes off on a tangent about what Fonzie is like. Tarantino savors every word of his characters, finding a potential wisecrack in every statement and infusing the dialogue with clever pop culture references. But the lines aren't just witty; they are full of intelligent observations about human behavior. Think of Mia's statement to Vincent, "That's when you know you've found somebody special: when you can just shut the f--- up for a minute and comfortably enjoy the silence."

What is the movie's purpose exactly? I'm not sure, but it does deal a lot with the theme of power. Marsellus is the sort of character who looms over the entire film while being invisible most of the time. The whole point of the big date sequence, which happens to be my favorite section of the film, is the power that Marsellus has over his men without even being present. This power is what gets Vincent to act in ways you would not ordinarily expect from a dumb, stoned gangster faced with an attractive woman whose husband has gone away. The power theme also helps explain one of the more controversial aspects of the film, its liberal use of the N-word. In this film, the word isn't just used as an epithet to describe blacks: Jules, for instance, at one point applies the term to Vincent. It has more to do with power than with race. The powerful characters utter the word to express their dominance over weaker characters. Most of these gangsters are not racist in practice. Indeed, they are intermingled racially, and have achieved a level of equality that surpasses the habits of many law-abiding citizens in our society. They resort to racial epithets because it's a patter that establishes their separateness from the non-criminal world.

There's a nice moral progression to the stories. We presume that Vincent hesitates to sleep with Mia out of fear rather than loyalty. Later, Butch's act of heroism could be motivated by honor, but we're never sure. The film ends, however, with Jules making a clear moral choice. Thus, the movie seems to be exploring whether violent outlaws can act other than for self-preservation.

Still, it's hard to find much of a larger meaning tying together these eccentric set of stories. None of the stories are really "about" anything. They certainly are not about hit-men pontificating about burgers. Nor is the film really a satire or a farce, although it contains elements of both. At times, it feels like a tale that didn't need to be told, but for whatever reason this movie tells it and does a better job than most films of its kind, or of any other kind.


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Frequently Asked Questions

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Details

Official Sites:

Official Facebook | Official Site

Country:

USA

Language:

English | Spanish | French

Release Date:

14 October 1994 (USA) See more »

Also Known As:

Black Mask See more »

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Box Office

Budget:

$8,000,000 (estimated)

Opening Weekend USA:

$9,311,882, 16 October 1994

Gross USA:

$107,928,762

Cumulative Worldwide Gross:

$214,194,847
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Company Credits

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Technical Specs

Runtime:

| (original cut)

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »

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