![]() And the story of how Marsellus had a man thrown out of a fourth-floor window for giving his wife a foot massage turns out to be a set-up: Tarantino is preparing the dramatic ground for a scene in which Vincent takes Mia Wallace (Uma Thurman) out on a date, on his bosses’ orders.”Įbert is explaining the tonal relevance of what seems an insipid conversation, as well as its narrative purpose. ![]() The discussion of why Quarter Pounders are called ‘Royales’ in Paris is reprised, a few minutes later, in a tense exchange between Jules and one of the kids (Frank Whaley). Tarantino’s dialogue is not simply whimsical. Finally Jules says ‘let’s get in character,’ and they enter an apartment. They talk about the drug laws in Amsterdam, what Quarter Pounders are called in Paris, and the degree of sexual intimacy implied by a foot massage. Remember the famous opening conversation between Jules and Vincent, who are on their way to a violent reprisal against some college kids who have offended Wallace and appropriated his famous briefcase. Roger Ebert discusses that concept in his Great Movies article about the film, saying, “It is Tarantino’s strategy in all of his films to have the characters speak at right angles to the action, or depart on flights of fancy. We viewers may mentally struggle to piece together the film’s lineage, but the dialogue always knows exactly where to be. #Pulp fiction murder monologues fullThings mentioned early in the film come full circle later on, even if the later plot point chronologically happened first. Although the story is out of sequence, the dialogue isn’t. It’s clear that Tarantino wrote Pulp Fiction with botched continuity in mind and carefully plotted the dialogue around that structure. Without being forward with its intent, every word contained in each seemingly innocuous piece of conversation comes back to have greater meaning later. It’s organic and casual, effortlessly working to set the scene and establish the tone of what’s happening (or soon to happen) using philosophical and thought-provoking conversation. Pulp Fiction’s dialogue isn’t plot-driven. This adds to Pulp Fiction’s authenticity.” His “ability to make the viewer smile or even laugh at inappropriate times is one of his defining characteristics as a director and writer. “Tarantino’s seemingly effortless ability to represent unlikely characters in complex and believable ways through dialogue is comparable to none,” says The Artifice. ![]() And of course, the path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Does Marcellus Wallace look like a bitch? I’m Winston Wolf, I solve problems. When you reminisce on the film, certain lines and scenes instantly pop into your head: Royale with cheese. Pulp Fiction is one of the most quotable movies ever written. Pulp Fiction achieved success with its inventive shuffling of continuity and its memorable performances, but dialogue is what has solidified it as a true modern classic. Nothing is said just to be said, or to fill screen time. ![]() Every line of dialogue in his films, perhaps in Pulp Fiction (1994) more than any other, simply carries weight. Tarantino has a proven ability to create humor without making jokes, and to build tension without requiring a character to raise their voice. He writes films with a language that will be studied decades from now, the way modern film scholars look at the innovative use of speech in films like His Girl Friday (1940). Quentin Tarantino is considered one of the geniuses of modern filmmaking not just because of his all-encompassing aptitude for the craft, but because he’s a gifted screenwriter whose dialogue will transcend generations.
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