Pulp Fiction and Hope for Redemption - Movie Review Example

American Cinema One of the more successful American films of the 1990s was the movie Pulp Fiction, written and directed by Quentin Tarantino. The movie was produced in 1994 and was greatly affected by events occurring in that time period. Part of this influence can be seen in the film’s postmodern style of expression while numerous references to the American pop culture of the decade can be traced throughout. The themes carried out in the film bring into the light some of the major questions of the 90s, including the search for spirituality and the value of human life in an increasingly mechanized, dissociated and cynical world. Concerns of the 90s are also brought out in the film, including increased violence, changing rates and types of drug use and cultural oddities such as all over body piercings. Each character has their own perspective on the times in which they’re living as well, bringing in even more depth in Tarantino’s analysis of this era, which is brought out in even sharper detail thanks to the several references made to pop culture icons of bygone eras. It is through these various devices that Tarantino is able to deliver a film that not only captures the prevailing culture of 1990s America, but that also provides an answer for those seeking meaning in a confusing and violent world. Violence plays a big role in the film just as it did in everyday life in America in the 90’s. By the end of the decade, Americans had become used to acting as the world’s policeman, having worked singly and with other countries in a variety of predominantly Middle Eastern issues. However, the beginnings of this trend were already evident by the time the movie was released. Although he doesn’t make a comment upon these actions directly, Tarantino indicates his own feelings regarding war in the flashback Butch experiences just before he’s called to his fight. The character of Captain Koons enters the home where Butch as a young child is watching cartoons and gives him his father’s watch. While war is given a somewhat nostalgic, honorable memory in the story regarding Butch’s great-grandfather who went to war in World War I and his grandfather who died in World War II, the Captain takes on a whole new tone when discussing his own experience in Vietnam. Although his voice has been calm and gentle, almost sing-song as he relates the family history regarding the watch in his hand, he takes on a much harsher tone and introduces vulgar language in discussing how the watch was preserved to be passed down to Butch. This is understandable considering just what those details are, yet Tarantino’s intention of allowing Captain Koons to represent disillusioned Americans and the reality of war remains clear. However, it is the increase in everyday violence that emerges as the main theme in the movie. The choice of Los Angeles as the setting for the film seems intended to recall the 1992 Watts riots of south-central L.A. following the Rodney King incident in which four white police officers were seen on videotape severely beating a black man. Street gang activity had seen its start in the 1980’s, but was perceived to increase dramatically by the 1990’s, giving credence to the idea of gangsters operating in the Los Angeles neighborhoods. Random violence was perceived to be on the increase as media outlets focused on these issues. Violent video games had recently made their entry into the market with games such as NARC, in which the object of the game is to run around killing drug offenders and take away their money and drugs. You can’t win the game until you get Mr. Big. You are permitted to arrest the drug offenders instead of kill them, but players are encouraged to kill by providing more exciting graphics when the player uses one of the high powered weapons and by allowing the player to kill the drug offender even after arresting him. All of the above sparked numerous studies into the desensitizing of America’s children by exposing them to and encouraging them to participate in random acts of violence. Tarantino’s film encompasses these concepts in almost every way possible. The struggle between black and white can be seen throughout the film as Butch double-crosses Marcellus and later runs him over, Marcellus is raped by the white men in the pawn shop and Vincent accidentally shoots Marvin in the face. However, to prove that he doesn’t advocate this type of behavior, Tarantino allows Marcellus to remain the boss as Butch returns to help him and then submits to Marcellus’ judgment and as Jules is allowed to escape the world of the gangster to live a peaceful life of his choosing while Vincent is killed in a less than noble fashion having been shot with his own gun by the man he was sent to kill. In this respect, both Marcellus and Jules represent the strength of the black man to overcome whatever the white man might choose to throw at him. The idea that people can become desensitized to violence is emphasized greatly throughout the film. This is first seen as Jules and Vincent make their way to Brett’s apartment, talking about the ‘date’ Vincent has with Marcellus’ wife Mia later on that evening. The conversation revolves around a rumor that Marcellus recently threw a Samoan man out of a fourth floor window, sending him crashing through a greenhouse ceiling and causing a permanent speech impediment, for doing nothing more than giving Mia a foot massage. Although this is never confirmed as having been an actual event, it is never denied either. Mia indicates to Vincent that the story seems a little excessive, but simply questions Vincent about what he heard rather than providing any details. While the suggestion at the restaurant might be that the incident didn’t happen quite the way it had been described, the fact that both Mia and Vincent are afraid of what might happen to them if Marcellus found out about Mia’s near death overdose illustrates the man is capable of this types of irrational behavior. Real violence enters the picture as Jules rather casually shoot the character known only as Flock of Seagulls, thanks to his flamboyant late 80’s hairstyle, at Brett’s apartment. After firing several rounds into Brett from two direction, the gangsters are fired upon by a fourth man who has been hiding in the bathroom all this time. Despite the fact that this person is firing at point blank range with a gun that looks as if it can’t miss, none of the bullets strike Jules or Vincent. Rather than being concerned, they calmly look down at themselves and each other to confirm they haven’t been hit and then simultaneously raise their guns and shoot their attacker. It is this incident which spurs the discussion about Divine Intervention. As they leave, neither Jules nor Vincent seems at all concerned about the mess they’ve left behind or about trying to cover their tracks. The character Butch displays a similar lack of concern regarding death. Upon learning that he killed his opponent in the ring, Butch mutters a half-hearted “Sorry Frank” but otherwise demonstrates no remorse, even telling the taxi driver he feels nothing about it. In a kill or be killed world, Butch accepts this as merely part of the game. His murder of Vincent back at Butch’s apartment is both a surprise and an accident to him, but again, he shows very little emotion as Vincent lies sprawled across his bathroom tub. His attempt to kill Marcellus with his car is the first deliberate murder he is seen to contemplate, but this is both a survival skill (as Marcellus intends to shoot him as soon as he can get his gun out of his jacket) and an instinctual reaction as Marcellus stands in front of the car. Similarly, the murder of Gimp is necessary if Butch is to escape the sadist pawn shop owners. His murder of Maynard is the first premeditated, deliberate and successful murder Butch commits with equal emotional involvement or reaction to those he’s been involved in to this point. Not only can the escalation of violence be traced through Butch’s actions throughout the film, but Butch is actually the character who kills the greatest number of people, even when one excludes his failed attempt to kill Marcellus. This is significant when it is considered that Butch is as close to an ordinary civilian as the film provides to be compared to the supposedly overly violent life of the gangsters. The only death to bring about any true reactions in any of the characters is Vincent’s accidental shooting of Marvin as they travel down the road in Jules’ car. Because he shoots Marvin in the face, in the confined space, blood and pieces of Marvin are scattered throughout the car, forcing Jules and Vincent to take emergency shelter at a nearby friend’s house. Although Wolf is called in to solve the problem, Vincent is still confident enough in his own importance to demand respect rather than orders and nothing else is done to punish Vincent for his carelessness. No consequences occur as the car is demolished without question, either. Architecturally speaking, Tarantino was successful in capturing the styles of the times in both his restaurant Jack Rabbit Slim’s and in his portrayal of Mia’s home. The 1990s saw a tremendous boom in theme-styled restaurants such as Hard Rock Café and Planet Hollywood. The themed Jack Rabbit Slim’s perfectly fits into this genre with its ‘famous’ serving staff of Marilyn Monroe, Ed Sullivan, Buddy Holly and Mamie von Doren; live 50’s music; jukebox-themed stage; live impromptu dance contests and converted classic cars as dining tables. The restaurant’s heavy nod to a bygone era helps direct attention to the various cultural icons representative of the 90’s within the film as well as indicating how each era’s more flamboyant identifiers have fallen into little more than theme-park fun and games. The choice of a 1950’s styled restaurant might have reflected Tarantino’s own personal preferences, but it also followed the 1990’s decorating trend of ‘mid-century modern’ – a resurgence of 50’s and 60’s style fashions with a unique 90’s twist. Another architectural feature of the 90’s was the tendency to construct homes and offices in the universal style. This style of design was intended to provide the greatest possible access to the building by the greatest number of people regardless of handicaps or other special needs with little to no further adjustment. Mia’s home features a very open floor plan, including few (if any) stairs, wide walkways sufficient for wheelchair traffic if necessary and easily accessible wet bar. The home is decorated in a somewhat retro-50’s style, with minimalist couches, and a reel to reel tape player and record player as opposed to a more modern CD system. Despite this, the home remains modern as the gigantic speakers of yesteryear were nowhere in evidence and the intercom system includes a video control room. When Vincent enters the bathroom after bringing Mia home, it can be seen that the bathroom is equally wide open and available regardless of mobility issues. Finally, walking up to the house, it can be seen that Mia has selected several African-looking sculptures to decorate her home with, reflecting the 90’s trend to decorate using art in the ‘primitive’ style. Cell phones and body piercings, grunge fashion and preppie casual Despite the violence and seeming lack of consequences seen throughout the movie, Tarantino manages to convey a sense of decency and redemption, a kind of answer to the 90’s problem, in his treatment of Vincent, Jules and Butch. While Jules seems to recognize that perhaps it’s time for him to leave the business following his sign of the near-miss at Brett’s apartment. Vincent refuses to heed the warning. While Jules is permitted to simply walk away from the business, indicated by Marcellus’ presence at Butch’s apartment as Vincent’s backup man, Vincent is left alone to face his own weapon in the end. In this, Jules represents the saved man and the shepherd, ready to go out and help others find the path to redemption as he has while Vincent represents the blind man who refuses to hear the truth. Despite his failings, though, Vincent is given an example of the kind of rebirth he could experience when he is able to save Mia from her heroin overdose. Butch, meanwhile, despite his own failings, is granted a reprieve based on his decision to save Marcellus from their captors at the pawn shop, in spite of the great personal risk to himself. His willingness to face whatever punishment Marcellus chooses to invoke upon him for his double-cross is representative of the penitent man who willingly asks for forgiveness. Through all the cultural icons of both past and present, Tarantino constantly reminds his audience that he is fully in touch with current events, changing ideals and passing trends. Despite all these things, though, he retains a sense of hope for redemption and decency even in the worst elements of society. Works Cited Pulp Fiction. Dir. Quentin Tarantino. Perf. John Travolta, Samuel L. Jackson, Bruce Willis, Uma Thurman and Ving Rhames. Miramax, 1994. Whitley, Peggy; Bradley, Becky; Sutton, Bettye; & Goodwin, Sue. “1990-1999.” American Cultural History. (December 2001). Kingwood College Library. July 3, 2006 < http://kclibrary.nhmccd.edu/decade90.html> Read More