What a rush!

Rating: 8/10 (29 January 2008)

Quentin Tarantino is a cinematic genius! If you don't believe me just treat yourself to his fantastic "Pulp Fiction", a dark, sharp, black as black comedy thriller concerning a few days in the lives of some desperate LA characters.
Our prodigious director co-wrote the script (with Roger Avary), which contains some absolutely brilliant dialogue. This supreme black comedy has such a distinct laconic wit that you'll find yourself breaking up at the most gruesome and disturbing of scenes. The film's thriller element is at times chillingly effective, creating with ease heart pounding tension that will have you fidgeting in your seat and drying your hands on the legs of your trousers.
The story itself, or three stories in one actually, is a fascinating tale of double-cross which will completely involve you, as will the equally fascinating character study which lies within the intriguing plot. There are some amazing people in "Fiction"! The total un-predictability of the movie works to perfection, as Tarantino controls and manipulates his audience whilst entertaining brilliantly throughout. He deliberately unsettles us early so that we're never comfortable, then draws us in effortlessly as the narrative unfolds. The finale is very satisfying (more than so), yet leaves you itching and pleading for an encore. This is highly addictive cinema! You never know who's gonna do what to whom, where the next sucker punch is coming from nor the next razor sharp line.
The bold format works excellently, with the non-chronological sequence being a real plus. Apparently the original concept was to have the script 'linear', but the fact that this removed some main characters early in the piece was found to be unsatisfactory, and so a re-write was ordered. The result is astonishingly effective, and the editing is truly inspired, maintaining the ideal pace.
Tarantino's film is graphically violent yet superbly visual, containing some startling cinematography and much effective imagery, including one particular hard drug scene that leaves a marked impression.
Finally, one of the film's strongest points is the powerful acting. Amanda Plummer and Tim Roth are first on the scene giving us two great performances as the picture's initial desperate criminals. As a hippie drug dealer and his severely body-pierced wife, Eric Stoltz and Rosanna Arquette both make solid impressions, as do Harvey Keitel and Tarantino himself. In the more pivotal roles are Bruce Willis as reckless boxer Butch, Ving Rhames as crime-lord Marsellus Wallace, Uma Thurman as the sexy drug-fiend Mrs. Wallace and John Travolta as Marsellus' Italian hit man Vincent Vega. All give strong showings. Frank Whaley and Christopher Walken also drop in on the action, but the plum role goes to Samuel L. Jackson as Jules Winfield. Jackson gets all the very best lines and the most interesting character by far, and his performance is sensational, worthy of acknowledgment at the highest level.
I could go on and on about what I consider to be the film of 1994 by a long shot. Quentin Tarantino will have you eating out of the palm of his hand. Even though the black comedy gangster thriller is a well worn genre, the movie's amazing originality will blow you out of the theatre, while its confronting and astounding style and layout will really keep you thinking. What a rush!
Sunday, December 11, 1994 - Knox District Centre
Friday, February 10, 1995 - Village Centre Melbourne
Monday, February 27, 1995 - Kuhio Twins Honolulu
Having seen Tarantino's violent, graphic landmark "Pulp Fiction" four times, I must confess that even though it is a remarkable piece of story telling, it does tend to wear a little thin.
Without the surprise element with which he so easily manipulates his audience first time around, Tarantino must rely on the depth and genius of his writing, and the shrewdness of his direction and the editing. In this light "Pulp Fiction" does tend to be over long and perhaps over indulgent, and may have even worked just as well in chronological order (haven't I changed my tune).
On the other hand, all the outstanding performances certainly hold up to repeat viewings. As the thinking man's gangster, Samuel L. Jackson delivers a veritable tour-de-force in what is possibly the performance of 1994. John Travolta's showing is stylish and controlled, Uma Thurman proves herself to be a real handful, overdosing or otherwise, Bruce Willis and Ving Rhames are both ideally cast and make the very most of their characters, Amanda Plummer and Tim Roth (Honeybunny and Pumpkin) are incredible in their small roles (you could make a movie spin-off based on those two!), Christopher Walken's walk in is significant but rather drawn out, and both Eric Stoltz and Rosanna Arquette are terrific as the young marrieds selling and doing drugs (every scene of theirs is extremely funny).
One may conclude that "Pulp Fiction" could have been just as effective twenty minutes shorter, but who's complaining. The film is ultra-violent, so the squeamish should avoid it, as should those who don't enjoy contemplative, thought provoking cinema. Movie goers really need to be alert to put all the pieces together, and also to appreciate all the philosophical dialogue from Jules and Vincent. Most will find Tarantino's small talk both ingenious and amazingly true to life, as well as incredibly hilarious.
Sunday, July 9, 1995 - Waverley Pinewood Cinema