Essays About Pulp Fiction

Essays About Pulp Fiction-80
Using conventional directorial techniques, sometimes in unconventional ways, Tarantino gets the viewer to experience the hipness of his characters and to laugh at traditionally non-comedic scenarios.

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The gangsters are shown both at their coolest and at their worst, having money and enjoying life with the top down and radio on or overdosing on heroin and having to save each other because going to a hospital would result in an arrest.

Most of the characters in this film are the very personifications of hipness, and Tarantino accentuates that in new or at least less conventional ways.

Quentin Tarantino is one of those directors and screenwriters who cannot focus on one issue and devote the whole movie to it.

He tries to add as many captivating details and lessons to his works in order to underline that it is wrong to accept this life as one-sided state of affairs.

The other shot is a look at the two thugs from just inside the passenger side window.

This second shot helps the viewer feel comfortable with the two characters because it makes one feel like he is cruising along in the car. Unlike some cinema conversations where the camera is switching from one character to another, with the second shot here the viewer can choose which character he wants to look at, which gives the viewer a sense of security because he has control. For instance, when Butch (the aging prize fighter played by Bruce Willis) is being told by Marsellus Wallace (the crime boss played by Ving Rhames) that he must lose his next fight in the fifth round, Tarantino does nothing with the camera except leave it on Butch's face for over a minute. Traditionally shots that stay on a character's face are meant to get the viewer to concentrate on that character and think about what that character is feeling or thinking.

The hipness is all part of the gangster mystique, which American movie audiences love so much, and on top of that Tarantino even adds the haunting shiekness of upper-scale drugs, such as heroin and cocaine.

Tarantino absolutely harps on the wonderful dichotomy that gangsters present to get this hipness across to the audience.

Here the audience sees a traditionally type cast heroic actor being told what to do and being paid off to do it.

Tarantino leaves the camera on him so that the audience is forced to consider how powerful Wallace is and how washed up Butch is.


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