Pulp Fiction As The New Testament of Cinema.

Rating: 10/10 (20 September 2007)

Pulp Fiction As The New Testament of Cinema.
Tarantino is always the body and the spirit of his movies, his movies don't exist apart from his personality and he is there (Mr.Brown, Jimmie, Chester Rush, Warren) personally to mark his territory. Tarantino is close 'cause we see him in his movies  Rodriguez don't pet us with cameos, while he is times more attractive than Cutie Anyways, when I first saw Pulp Fiction I was 13. Next day at school everybody was discussing that movie, our hips were saying "Tarantino" about a hundred times a minute. I was never hip, so when I asked which of them was Tarantino, they gave me a look that could kill. "Tarantino is THE DIRECTOR, and by the way, he played there too." It was very funny  they considered knowing that so valuable, to me it was no more than just "a" movie then. "Who did he play?" I asked. When they told me I was shocked: "What?! That pathetic imbecile in the robe was actually the director?!!!" How could I know that that imbecile's IQ is 160 to my 118, but I didn't know it then and I didn't care.
Funny, that exact dialogue that made me revere Tarantino years later, that dialogue is cut off the most of the copies of the movie, and the Cannes saw the cut version too. At least, the script is available for free and anyone can enjoy the full version, which contains even the unfilmed scenes.
The main dialogue of the movie is cut. It is where Mia is giving Vince a third degree. It is here where Tarantino speaks himself and for himself (even though everyone in his movies is Tarantino, even bacteria in the actors' sweat speak Tarantino "F" English, still here it is his dream and his dream-girl), it's his fantasy, it's the questions he wanted to answer  he actually dreamed of getting beaten up by a girl, he loves Amazons, and his other works prove it (Jackie Brown, Kill Bill vol.1, Death Proof, etc.) Only strong men like to see strong women by their side.
Tarantino and Roger Avary share the Best Original Screenplay Oscar, but actually the full script was written by Cutie only, the stories were developed together. It was Roger Avary who developed the hideous rape scene, he said about that like all writers do  the characters did that on their own to the author's surprise, because he is a nice person, who would never invent something like that.
Anyway, it's a movie that arouses a wide variety of interpretation, from seeing the deepest philosophical "ditch" in it to the calling it the lowest pop chuck, to me it is a classic Tarantino, and that says it all. He loved to see his beautiful child with the people, he would go to the cinema and watch it every time like the first time with them, noticing when they tensed and when they laughed, being tensed and laughing with them, being the happiest guy in the whole wide world then. I really think that he was the happiest guy then, you wouldn't find another like him.
Well, there is one thing I hate when some very sophisticated and very spiritual specimen start to zoom around about some irony of the movie, the irony of Cutie, who is against violence on the screen, and in his movie he is saying: "People, look at what you are doing, and stop!", and they say it in such a pompous voice that it makes me almost physically sick. One of them happened to blabber in that way in my company. She had some good ideas too  she pointed out  it is not the bodies that shock, it is the attitude towards them that does. That is a nice phrase that sums up the reason why his movies seem to be and they are extra-violent. Okay, but then she goes again  people, look blah-blah-blah. I couldn't stand any longer: I told her about the first script, where Vince shot Marvin in the throat, and then with Tarantino little talk shot him in the head, Cuite changed that scene into one shot in the head  she was happy and said: "Because it is softer!", "No, - I gloated, - HE actually said himself that he changed that because the straight shot in the head was FUNNIER". She almost freaked out.
Look, you may see anything you want in it, even Nostradamus prophecy, but keep in mind, that Tarantino is a brilliant guy who loves action, crime and kung-fu movies just for the fun of it, and we love him for that. You may see anything you want in Marcellus's case (from Marcellus's soul to Da Vinci manuscripts), but keep in mind that Tarantino and Avary concealed its contents only because their initial idea seemed too trivial to them  diamonds. They say: "It depends on viewer's mind", well, of course, it does, but I want to know what it is on your mind, that's why I watch your movie.
So, one may see Da Vinci manuscripts, yet it may be plainly diamonds, but the movie is really epic. (I can't say that it's a must see, I don't like the word "a must see", like something forcing you into something) It is more than a fantastically good movie, it is the New Testament of cinema  new way of speaking in the movies, new way of storytelling, new way of being in the movies, new way of seeing the very movie-making idea.