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Pulp Fiction
- Thread starter denisi
- Data e fillimit
Re: Pulp Fiction
une e kam pare filmin me dhjetra here dhe per mua eshte filmi me i mire i te gjithe koherave. Edhe njeqind here ta shoh prape nuk merzitem duke e pare. Shiko edhe:
http://www.albforumi.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=47;t=000018
http://www.albforumi.com/af/ultimatebb.php?ubb=get_topic;f=47;t=000006;p=2
-------------------------------------------------------------------------------Fillimisht postuar nga denismushi:
[qb] Kush jane ato shqiptare te tjere qe e kane pare dhe qe i pelqen sa mua,(me i bukuri qe kam pare ndonjehere)Nqs sju pelqen pse ka.in? [/qb]
une e kam pare filmin me dhjetra here dhe per mua eshte filmi me i mire i te gjithe koherave. Edhe njeqind here ta shoh prape nuk merzitem duke e pare. Shiko edhe:
http://www.albforumi.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=47;t=000018
http://www.albforumi.com/af/ultimatebb.php?ubb=get_topic;f=47;t=000006;p=2
Re: Pulp Fiction
Po mire e kuptuam te gjithe qe ju pelqen Pulp Fiction, por si ka mundesi qe nuk doli njeri te thote pse i pelqeu ky film?!? Aq me teper duke u nisur nga fakti qe shume prej jush e kane pare disa here. Kjo me kujton ca mendime te lezetshme te ca robve kur thonin se pelqenin "The Matrix" sepse Neo, Trinity dhe Morpheus kishin rroba te bukura!!!
Nese ky film pelqehet sepse ka fraza te "bukura" apo sepse loja e aktoreve eshte e mire, atehere ky film ka deshtuar te arrije ate qe deshiron te thote pavarsisht se keto te fundit rrisin cilesine e filmit. Te pakten ky eshte mendimi im, ka shume shume me teper ne ate film sesa fraza te bukura dhe aktore terheqes.
Po mire e kuptuam te gjithe qe ju pelqen Pulp Fiction, por si ka mundesi qe nuk doli njeri te thote pse i pelqeu ky film?!? Aq me teper duke u nisur nga fakti qe shume prej jush e kane pare disa here. Kjo me kujton ca mendime te lezetshme te ca robve kur thonin se pelqenin "The Matrix" sepse Neo, Trinity dhe Morpheus kishin rroba te bukura!!!
Nese ky film pelqehet sepse ka fraza te "bukura" apo sepse loja e aktoreve eshte e mire, atehere ky film ka deshtuar te arrije ate qe deshiron te thote pavarsisht se keto te fundit rrisin cilesine e filmit. Te pakten ky eshte mendimi im, ka shume shume me teper ne ate film sesa fraza te bukura dhe aktore terheqes.
arber qemali
Primus registratum
Re: Pulp Fiction
film fantastik.marrin pjese aktore te medhenj .
pjesa ku kercen uma thurman me travolten eshte bishe.
cdo film i tarantinos me pelqen.
film fantastik.marrin pjese aktore te medhenj .
pjesa ku kercen uma thurman me travolten eshte bishe.
cdo film i tarantinos me pelqen.
Re: Pulp Fiction
Me duket se ka qene nga filmat e pare qe ka sjelle nje gershtim ngjarjesh qe ne pamje te pare te duken plotesisht te shkeputura. Ne fakt kur e pashe filmin per here te dyte me pelqevi me teper se per here te pare sepse i kushtova me shume vemendje detaleve dhe menyres se nderthurjes se ndodhive te ndryshme.
Me duket se ka qene nga filmat e pare qe ka sjelle nje gershtim ngjarjesh qe ne pamje te pare te duken plotesisht te shkeputura. Ne fakt kur e pashe filmin per here te dyte me pelqevi me teper se per here te pare sepse i kushtova me shume vemendje detaleve dhe menyres se nderthurjes se ndodhive te ndryshme.
Re: Pulp Fiction
Mua me pelqen me shume bruce willis,eshte shume tip klas..dhe jackson me pelqen kur reciton ate citatin nga bibla dhe ja shperthe trut te xhithe krahins se malcis!!!po eshte nje cike i vjeter si film sepse une e kam pare per here te pare ne 96.. /pf/images/graemlins/laugh.gif
Mua me pelqen me shume bruce willis,eshte shume tip klas..dhe jackson me pelqen kur reciton ate citatin nga bibla dhe ja shperthe trut te xhithe krahins se malcis!!!po eshte nje cike i vjeter si film sepse une e kam pare per here te pare ne 96.. /pf/images/graemlins/laugh.gif
Re: Pulp Fiction
Nga njera ane ka filma qe pelqehen per kostumet ose regjine ose skenarin ose muziken ose per aktorin kryesor ose per aktorin me te mire jokryesore (prandaj ka Oscar per kategori te ndryshme), kurse ne anen tjeter qendron ne majen e Olimpit "Pulp Fiction". Film ku nuk di ke te vleresosh me pare: lojen dhe perzgjedhjen e aktoreve, apo skenarin fantastik dhe menyren e rrjedhjes se ngjarjeve, thyerjen e tabuve, apo muziken fantastike te zgjedhur nga Tarantino, dora vete, apo textet dhe dialogjet.
Per mendimin tim "Pulp Fiction" i vuri shkelmin (dhe shume mire keshtu)filmave te tipit "Gone with the wind" ose "Titanic" ose filmave heroik te tipit "Rambo" dhe "Terminator". Filma, ku pas pese minutash e ke marre vesh se per ca behet fjale, kush eshte aktori kryesor positiv dhe kush negativ, dhe se fundi e di me 100% se e mira do te fitoje mbi te keqen.
Tek "Pulp Fiction" ka shume entertainment dhe realitet.
Ky eshte pak a shume mendimi im personal mbi "Pulp Fiction".
---------------------------------------------------------------------------------Fillimisht postuar nga Glamdring:
[qb] Po mire e kuptuam te gjithe qe ju pelqen Pulp Fiction, por si ka mundesi qe nuk doli njeri te thote pse i pelqeu ky film?!? Aq me teper duke u nisur nga fakti qe shume prej jush e kane pare disa here. Kjo me kujton ca mendime te lezetshme te ca robve kur thonin se pelqenin "The Matrix" sepse Neo, Trinity dhe Morpheus kishin rroba te bukura!!!
Nese ky film pelqehet sepse ka fraza te "bukura" apo sepse loja e aktoreve eshte e mire, atehere ky film ka deshtuar te arrije ate qe deshiron te thote pavarsisht se keto te fundit rrisin cilesine e filmit. Te pakten ky eshte mendimi im, ka shume shume me teper ne ate film sesa fraza te bukura dhe aktore terheqes. [/qb]
Nga njera ane ka filma qe pelqehen per kostumet ose regjine ose skenarin ose muziken ose per aktorin kryesor ose per aktorin me te mire jokryesore (prandaj ka Oscar per kategori te ndryshme), kurse ne anen tjeter qendron ne majen e Olimpit "Pulp Fiction". Film ku nuk di ke te vleresosh me pare: lojen dhe perzgjedhjen e aktoreve, apo skenarin fantastik dhe menyren e rrjedhjes se ngjarjeve, thyerjen e tabuve, apo muziken fantastike te zgjedhur nga Tarantino, dora vete, apo textet dhe dialogjet.
Per mendimin tim "Pulp Fiction" i vuri shkelmin (dhe shume mire keshtu)filmave te tipit "Gone with the wind" ose "Titanic" ose filmave heroik te tipit "Rambo" dhe "Terminator". Filma, ku pas pese minutash e ke marre vesh se per ca behet fjale, kush eshte aktori kryesor positiv dhe kush negativ, dhe se fundi e di me 100% se e mira do te fitoje mbi te keqen.
Tek "Pulp Fiction" ka shume entertainment dhe realitet.
Ky eshte pak a shume mendimi im personal mbi "Pulp Fiction".
Re: Pulp Fiction
For Pulp Fiction fan only:
Jules:We should have shotguns for this kind of deal.
Vincent:How many guys up there?
Jules:Three or four.
Vincent:That's countin' our guy?
Jules: Not sure.
Vincent:So that means there could be up to five guys up there?
Jules:It's possible.
Vincent:We should have fuckin' shotguns.
Jules: So, tell me again about the hash bars.
Vincent: Ok, what you want to know?
Jules:Hash is legal over there, right?
Vincent: It's legal but it ain't hundred percent legal, I mean, you just can't walk into a restaurant, roll a joint and start puffin' away. They want you to smoke in your home or certain designated places.
Jules: And those are the hash bars?
Vincent:It breaks down like this, ok, it's legal to buy it, it's legal to own it, and if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, but...but that dosen't matter, 'cause, get a load of this; all right, if you get stopped by a cop in Amsterdam, it's illegal for them to search you. I mean that's a right the cops in Amsterdam don't have.
Jules: Oh, man, I'm goin', that's all there is to it. I'm fuckin' goin'.
Vincent:I know, baby, you'd dig it the most.
Vincent: You want some bacon?
Jules:No, man, I don't eat pork.
Vincent: Are you Jewish?
Jules: No, I ain't Jewish, i just don't dig on swine, that's all.
Vincent:Why not?
Jules: Pigs are filthy animals. I don't eat filthy animals.
Vincent:But bacon tastes good, pork chops taste good...
Jules: Hey, sewer rat may taste like pumpkin pie, but I'd never know 'cause I wouldn't eat the filthy motherfuckers. Pigs sleep and root in shit, that's a filthy animal. I don't eat nothin' that ain't got sense enough to disregard its own feces.
Vincent:How about a dog? A dog eats its own feces.
Jules:I don't eat dog either.
Vincent: Yeah, but do you consider a dog to be a filthy animal?
Jules: I wouldn't go so far as to call a dog filthy, but it's definately dirty. But, dogs got personality, personality goes a long way.
Vincent:So by that rationale, if a pig had a better personality, he would cease to be a filty animal. Is that true?
Jules: We' have to be talkin' 'bout one charmin' motherfuckin' pig. I mean he'd have to be ten times more charmin' than that Arnold on Green Acres, you know what I'm sayin'?
Marcellus: I think you're gonna find - when all this shit is over - I think you're gonna find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability don't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gonna hafta git realistic about. You see, this business is filled to the brim with unrealistic motherfuckers. Motherfuckers who thought their ass would age like wine. If you mean it turns to vinegar, it does. If you mean it gets better with age, it don't. Besides, how many fight do you think you got in you anyway? Two? Boxers don't have an old timers day. You came close, but you never made it, and if you were gonna make it, you would have made it before now.
Vincent: Still I hafta say, play with matches, ya get burned.
Jules: Whaddya mean?
Vincent: You don't be givin' Marsellus Wallace's new bride a foot massage.
Jules:You don't think he overreacted?
Vincent:Antwan probably didn't expect Marsellus to react like he did, but he had to expect a reaction.
Jules:It was a foot massage, a foot massage is nothing, I give my mother a foot massage.
Vincent: It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but it's the same fuckin' ballpark.
Jules: Whoa...whoa...whoa...stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ain't even the same fuckin' thing.
Vincent:It's not, it's the same ballpark.
Jules:It ain't no fuckin' ballpark either. Look maybe your method of massage differs from mine, but touchin' his wife's feet, and stickin' your tongue in her holyiest of holyies, ain't the same ballpark, ain't the same league, ain't even the same fuckin' sport. Foot massages don't mean shit.
Vincent: Have you ever given a foot massage?
Jules: Don't be tellin' me about foot massages - I'm the foot fuckin' master.
Vincent:Given a lot of 'em?
Jules:Shit yeah. I got my technique down an' everything, I don't be ticklin' or nothin'.
Vincent:Would you give a guy a foot massage?
Jules: Fuck you.
Vincent:You giv 'em a lot?
Jules: Fuck you.
Vincent: I'm kinda' tired, I could use a foot massage myself...
Jules: Yo yo yo, man , you best back off, I'm gittin' a little pissed here - now, this is the door. What time you got?
Vincent: Seven-twenty-two in the AM.
Jules: It ain't quite time yet, c'mon let's hang back.
Jules: I will never forgive your ass for this shit. This is some fucked-up repugnant shit!
Vincent: Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong-doings? Did you ever hear that?
Jules: Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty- bitty pieces of skull on account of your dumb ass.
Vincent: I got a threshold, Jules. I got a threshold for the abuse I'll take. And right now I'm a race car and you got me in the red. I'm just saying that it's fuckin' dangerous to have a racecar in the fuckin' red. It could blow.
Jules:Oh, you're gettin' ready to blow?
Vincent: I could blow.
Jules:Well I'm a mushroom-cloud-layin' mother- fucker, motherfucker! Every time my fingers touch brain I'm 'Superfly T.N.T', I'm the 'Guns of Navarone'. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're fuckin' switchin' right now. I'm washin' the windows and you're pickin' up this nigger's skull.
------------------------------------------------------------------------
Pulp Fiction rules :smash: :smash: :smash: :smash: :smash: :smash: :smash:
For Pulp Fiction fan only:
Jules:We should have shotguns for this kind of deal.
Vincent:How many guys up there?
Jules:Three or four.
Vincent:That's countin' our guy?
Jules: Not sure.
Vincent:So that means there could be up to five guys up there?
Jules:It's possible.
Vincent:We should have fuckin' shotguns.
Jules: So, tell me again about the hash bars.
Vincent: Ok, what you want to know?
Jules:Hash is legal over there, right?
Vincent: It's legal but it ain't hundred percent legal, I mean, you just can't walk into a restaurant, roll a joint and start puffin' away. They want you to smoke in your home or certain designated places.
Jules: And those are the hash bars?
Vincent:It breaks down like this, ok, it's legal to buy it, it's legal to own it, and if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, but...but that dosen't matter, 'cause, get a load of this; all right, if you get stopped by a cop in Amsterdam, it's illegal for them to search you. I mean that's a right the cops in Amsterdam don't have.
Jules: Oh, man, I'm goin', that's all there is to it. I'm fuckin' goin'.
Vincent:I know, baby, you'd dig it the most.
Vincent: You want some bacon?
Jules:No, man, I don't eat pork.
Vincent: Are you Jewish?
Jules: No, I ain't Jewish, i just don't dig on swine, that's all.
Vincent:Why not?
Jules: Pigs are filthy animals. I don't eat filthy animals.
Vincent:But bacon tastes good, pork chops taste good...
Jules: Hey, sewer rat may taste like pumpkin pie, but I'd never know 'cause I wouldn't eat the filthy motherfuckers. Pigs sleep and root in shit, that's a filthy animal. I don't eat nothin' that ain't got sense enough to disregard its own feces.
Vincent:How about a dog? A dog eats its own feces.
Jules:I don't eat dog either.
Vincent: Yeah, but do you consider a dog to be a filthy animal?
Jules: I wouldn't go so far as to call a dog filthy, but it's definately dirty. But, dogs got personality, personality goes a long way.
Vincent:So by that rationale, if a pig had a better personality, he would cease to be a filty animal. Is that true?
Jules: We' have to be talkin' 'bout one charmin' motherfuckin' pig. I mean he'd have to be ten times more charmin' than that Arnold on Green Acres, you know what I'm sayin'?
Marcellus: I think you're gonna find - when all this shit is over - I think you're gonna find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability don't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gonna hafta git realistic about. You see, this business is filled to the brim with unrealistic motherfuckers. Motherfuckers who thought their ass would age like wine. If you mean it turns to vinegar, it does. If you mean it gets better with age, it don't. Besides, how many fight do you think you got in you anyway? Two? Boxers don't have an old timers day. You came close, but you never made it, and if you were gonna make it, you would have made it before now.
Vincent: Still I hafta say, play with matches, ya get burned.
Jules: Whaddya mean?
Vincent: You don't be givin' Marsellus Wallace's new bride a foot massage.
Jules:You don't think he overreacted?
Vincent:Antwan probably didn't expect Marsellus to react like he did, but he had to expect a reaction.
Jules:It was a foot massage, a foot massage is nothing, I give my mother a foot massage.
Vincent: It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but it's the same fuckin' ballpark.
Jules: Whoa...whoa...whoa...stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ain't even the same fuckin' thing.
Vincent:It's not, it's the same ballpark.
Jules:It ain't no fuckin' ballpark either. Look maybe your method of massage differs from mine, but touchin' his wife's feet, and stickin' your tongue in her holyiest of holyies, ain't the same ballpark, ain't the same league, ain't even the same fuckin' sport. Foot massages don't mean shit.
Vincent: Have you ever given a foot massage?
Jules: Don't be tellin' me about foot massages - I'm the foot fuckin' master.
Vincent:Given a lot of 'em?
Jules:Shit yeah. I got my technique down an' everything, I don't be ticklin' or nothin'.
Vincent:Would you give a guy a foot massage?
Jules: Fuck you.
Vincent:You giv 'em a lot?
Jules: Fuck you.
Vincent: I'm kinda' tired, I could use a foot massage myself...
Jules: Yo yo yo, man , you best back off, I'm gittin' a little pissed here - now, this is the door. What time you got?
Vincent: Seven-twenty-two in the AM.
Jules: It ain't quite time yet, c'mon let's hang back.
Jules: I will never forgive your ass for this shit. This is some fucked-up repugnant shit!
Vincent: Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong-doings? Did you ever hear that?
Jules: Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty- bitty pieces of skull on account of your dumb ass.
Vincent: I got a threshold, Jules. I got a threshold for the abuse I'll take. And right now I'm a race car and you got me in the red. I'm just saying that it's fuckin' dangerous to have a racecar in the fuckin' red. It could blow.
Jules:Oh, you're gettin' ready to blow?
Vincent: I could blow.
Jules:Well I'm a mushroom-cloud-layin' mother- fucker, motherfucker! Every time my fingers touch brain I'm 'Superfly T.N.T', I'm the 'Guns of Navarone'. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're fuckin' switchin' right now. I'm washin' the windows and you're pickin' up this nigger's skull.
------------------------------------------------------------------------
Pulp Fiction rules :smash: :smash: :smash: :smash: :smash: :smash: :smash:
Re: Pulp Fiction
Nuk mund te krahasosh "Pulp Fiction" dhe "Gone with the Wind", sepse jane dy tipe filmash krejtesisht te ndryshem. Ne "Gone with the Wind" flitet per luften civile te Amerikes dhe si e tille eshte paraqitur mjaft mire. Per ate qe do te shikoje, kuptohet.
Nuk do ta keshilloja te kruheshe me filma te vjeter, sepse Pulp Fiction do dilte aty nga fundi i listes si nga idete, cast, skenar, etj. Pastaj une kam idene qe ti nuk ke arritur ta kuptosh si duhet "Terminator I" apo "Terminator II". Ka me teper aty sesa Arnoldi qe del me motorr dhe shot gun. Keto pamje jane per ata trapat qe duan vetem dhune. Shpesh duhet lexuar midis rreshtave apo pare midis skenave.
Filma te Kubrick si "The Shining", "2001 - A Space Oddyssey", "A Clockwork Orange", "Barry Lyndon", etj jane bere te gjithe perpara "Pulp Fiction" dhe Tarantino & CO. te dilte verdalle. Permenda filma te Kubrick meqe pjesa me e madhe e filmave te tij ashtu si "Pulp Fiction" perfshihen ne ate qe quhet filma CULT.
Dhe e gjithe kjo nuk do te thote qe mua nuk me pelqen "Pulp Fiction". Perkundrazi...
Ta fillojme nga fillimi. Oscar eshte nje idiotesi qe nuk ka te pershkruar. Nese nje film ka fituar shume Oscar nuk duhet pare!!! Te pakten ky eshte mendimi im. Per cilin Olimp e ke llafin?!? Ate te filmave?!? "Pulp Fiction" paska thyer tabu?!? Cilat qenkan keto???Fillimisht postuar nga Archi:
[qb]
Nga njera ane ka filma qe pelqehen per kostumet ose regjine ose skenarin ose muziken ose per aktorin kryesor ose per aktorin me te mire jokryesore (prandaj ka Oscar per kategori te ndryshme), kurse ne anen tjeter qendron ne majen e Olimpit "Pulp Fiction". Film ku nuk di ke te vleresosh me pare: lojen dhe perzgjedhjen e aktoreve, apo skenarin fantastik dhe menyren e rrjedhjes se ngjarjeve, thyerjen e tabuve, apo muziken fantastike te zgjedhur nga Tarantino, dora vete, apo textet dhe dialogjet.
Per mendimin tim "Pulp Fiction" i vuri shkelmin (dhe shume mire keshtu)filmave te tipit "Gone with the wind" ose "Titanic" ose filmave heroik te tipit "Rambo" dhe "Terminator". Filma, ku pas pese minutash e ke marre vesh se per ca behet fjale, kush eshte aktori kryesor positiv dhe kush negativ, dhe se fundi e di me 100% se e mira do te fitoje mbi te keqen.
Tek "Pulp Fiction" ka shume entertainment dhe realitet.
Ky eshte pak a shume mendimi im personal mbi "Pulp Fiction". [/qb]
Nuk mund te krahasosh "Pulp Fiction" dhe "Gone with the Wind", sepse jane dy tipe filmash krejtesisht te ndryshem. Ne "Gone with the Wind" flitet per luften civile te Amerikes dhe si e tille eshte paraqitur mjaft mire. Per ate qe do te shikoje, kuptohet.
Nuk do ta keshilloja te kruheshe me filma te vjeter, sepse Pulp Fiction do dilte aty nga fundi i listes si nga idete, cast, skenar, etj. Pastaj une kam idene qe ti nuk ke arritur ta kuptosh si duhet "Terminator I" apo "Terminator II". Ka me teper aty sesa Arnoldi qe del me motorr dhe shot gun. Keto pamje jane per ata trapat qe duan vetem dhune. Shpesh duhet lexuar midis rreshtave apo pare midis skenave.
Filma te Kubrick si "The Shining", "2001 - A Space Oddyssey", "A Clockwork Orange", "Barry Lyndon", etj jane bere te gjithe perpara "Pulp Fiction" dhe Tarantino & CO. te dilte verdalle. Permenda filma te Kubrick meqe pjesa me e madhe e filmave te tij ashtu si "Pulp Fiction" perfshihen ne ate qe quhet filma CULT.
Dhe e gjithe kjo nuk do te thote qe mua nuk me pelqen "Pulp Fiction". Perkundrazi...
Re: Pulp Fiction
Pulp Fiction
A Film Review by James Berardinelli
--------------------------------------------------------------------------------
United States, 1994
U.S. Release Date: 10/7/94 (NY, LA); 10/14/94 (limited)
Running Length: 2:29
MPAA Classification: R (Language, violence, mature themes)
Theatrical Aspect Ratio: 2.35:1
Cast: John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Maria de Medeiros, Ving Rhames, Eric Stoltz, Rosanna Arquette, Christopher Walken, Bruce Willis, Quentin Tarantino
Director: Quentin Tarantino
Producer: Lawrence Bender
Screenplay: Quentin Tarantino based on stories by Quentin Tarantino and Roger Avary
Cinematography: Andrezj Sekula
Music: Karyn Rachtman
U.S. Distributor: Miramax Films
Pulp (pulp) n. 1. A soft, moist, shapeless mass of matter. 2. A book containing lurid subject matter, and being characteristically printed on rough, unfinished paper.
"The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and a finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee."
- Jules' version of Ezekiel 25:17
The danger of having as successful and explosive a debut as Reservoir Dogs is that expectations are invariably high - sometimes unrealistically so - for the follow up. Quentin Tarantino, however, has managed the near-impossible: improve upon the extraordinary. Pulp Fiction shows what can happen when a talented and accomplished filmmaker reaches his apex.
This film is one wild ride. An anthology of three interconnected stories that take place in a modern-day Los Angeles tinted by echoes of Dashiell Hammett and Raymond Chandler, the movie impresses in every possible way. Writer/director Tarantino has merged film noir with the gangster tale and pulled them both into the '90s. As definitive as Francis Ford Coppola's Godfather saga was for the '70s, so is Pulp Fiction for today's generation.
Pulp Fiction's three tales are structured to intersect and overlap at key points, even though they are not presented in chronological order. Tarantino arranges his initial scene to dovetail with his final one in a remarkable example of closure. Those confused by the structure will see everything clearly once the final line is spoken.
"Vincent Vega and Marsellus Wallace's Wife" is the first story. It opens with Vincent (John Travolta) and Jules (Samuel L. Jackson) out on a hit for their boss, Marsellus (Ving Rhames). Along the way, Vincent confesses that he's uneasy about an upcoming job - taking out Marsellus' young wife Mia (Uma Thurman) while the main man is out of town. The source of the nervousness lies in a story circulating that Marsellus had a man thrown out a fourth story window for giving Mia a foot massage. One wrong step and Vincent could find himself in deep trouble.
"The Gold Watch" is about a boxer, Butch (Bruce Willis), who is handsomely paid by Marsellus to throw a fight. Only at the last moment does it become more profitable to renege on the deal. So, along with his French girlfriend, Fabienne (Maria de Medeiros), Butch goes on the run, hoping to live long enough to spend some of the fortune he has suddenly gained.
"The Bonnie Situation" ties together a few loose threads. It also introduces Harvey Keitel as a suave problem-solver named Wolf and Quentin Tarantino as Jim, a man worried that his wife will come home from work to find a dead body in a blood-spattered car in his garage. Sometimes, it appears, helping out Marsellus is not without its complications.
As was the case in Reservoir Dogs, Tarantino's crisp dialogue sparkles. The vulgarity-laced monologues and conversations ripple with humor and are ripe with points to ponder. Foot massages, hamburgers, comfortable silence, a gold watch, pot bellies, divine intervention, and filthy animals - all these and more receive the writer's attention as he presents meaningless issues in an intensely-fascinating and almost lyrical fashion. Who else (except perhaps David Mamet) can make profanity sound so poetic?
For anyone who thought they knew the breadth of Bruce Willis' and John Travolta's acting ability, a surprise awaits. Whether it's an effect of the script, the direction, or something else, these two turn in surprisingly strong performances. And they're not the only ones. Uma Thurman, Rosanna Arquette, Ving Rhames, Harvey Keitel, Tim Roth, Amanda Plummer, Eric Stoltz (who has a Tarantino-related triple play with Pulp Fiction, Killing Zoe, and Sleep With Me), and the director himself are all excellent. And then there's Samuel L. Jackson, who seems to get better with every outing.
All the details are executed to perfection. Ironies abound in the smallest situations. One death is caused by, of all things, a poptart. And it takes a director of rare talent to find the comedy in so many macabre situations. This goes beyond gallows humor. Mixing the original with the derivative, Tarantino pushes Pulp Fiction in directions that are equally anticipated and unexpected.
Relentless in its pace, Pulp Fiction is as exhausting as it is exhilarating. In between all the shootings, Mexican standoffs, and other violent confrontations exist opportunities to explore various facets of the human experience, including rebirth and redemption. With this film, every layer that you peel away leads to something deeper and richer. Tarantino makes pictures for movie-lovers, and Pulp Fiction is a near-masterpiece.
© 1994 James Berardinelli
Pulp Fiction
A Film Review by James Berardinelli
--------------------------------------------------------------------------------
United States, 1994
U.S. Release Date: 10/7/94 (NY, LA); 10/14/94 (limited)
Running Length: 2:29
MPAA Classification: R (Language, violence, mature themes)
Theatrical Aspect Ratio: 2.35:1
Cast: John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Maria de Medeiros, Ving Rhames, Eric Stoltz, Rosanna Arquette, Christopher Walken, Bruce Willis, Quentin Tarantino
Director: Quentin Tarantino
Producer: Lawrence Bender
Screenplay: Quentin Tarantino based on stories by Quentin Tarantino and Roger Avary
Cinematography: Andrezj Sekula
Music: Karyn Rachtman
U.S. Distributor: Miramax Films
Pulp (pulp) n. 1. A soft, moist, shapeless mass of matter. 2. A book containing lurid subject matter, and being characteristically printed on rough, unfinished paper.
"The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and a finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee."
- Jules' version of Ezekiel 25:17
The danger of having as successful and explosive a debut as Reservoir Dogs is that expectations are invariably high - sometimes unrealistically so - for the follow up. Quentin Tarantino, however, has managed the near-impossible: improve upon the extraordinary. Pulp Fiction shows what can happen when a talented and accomplished filmmaker reaches his apex.
This film is one wild ride. An anthology of three interconnected stories that take place in a modern-day Los Angeles tinted by echoes of Dashiell Hammett and Raymond Chandler, the movie impresses in every possible way. Writer/director Tarantino has merged film noir with the gangster tale and pulled them both into the '90s. As definitive as Francis Ford Coppola's Godfather saga was for the '70s, so is Pulp Fiction for today's generation.
Pulp Fiction's three tales are structured to intersect and overlap at key points, even though they are not presented in chronological order. Tarantino arranges his initial scene to dovetail with his final one in a remarkable example of closure. Those confused by the structure will see everything clearly once the final line is spoken.
"Vincent Vega and Marsellus Wallace's Wife" is the first story. It opens with Vincent (John Travolta) and Jules (Samuel L. Jackson) out on a hit for their boss, Marsellus (Ving Rhames). Along the way, Vincent confesses that he's uneasy about an upcoming job - taking out Marsellus' young wife Mia (Uma Thurman) while the main man is out of town. The source of the nervousness lies in a story circulating that Marsellus had a man thrown out a fourth story window for giving Mia a foot massage. One wrong step and Vincent could find himself in deep trouble.
"The Gold Watch" is about a boxer, Butch (Bruce Willis), who is handsomely paid by Marsellus to throw a fight. Only at the last moment does it become more profitable to renege on the deal. So, along with his French girlfriend, Fabienne (Maria de Medeiros), Butch goes on the run, hoping to live long enough to spend some of the fortune he has suddenly gained.
"The Bonnie Situation" ties together a few loose threads. It also introduces Harvey Keitel as a suave problem-solver named Wolf and Quentin Tarantino as Jim, a man worried that his wife will come home from work to find a dead body in a blood-spattered car in his garage. Sometimes, it appears, helping out Marsellus is not without its complications.
As was the case in Reservoir Dogs, Tarantino's crisp dialogue sparkles. The vulgarity-laced monologues and conversations ripple with humor and are ripe with points to ponder. Foot massages, hamburgers, comfortable silence, a gold watch, pot bellies, divine intervention, and filthy animals - all these and more receive the writer's attention as he presents meaningless issues in an intensely-fascinating and almost lyrical fashion. Who else (except perhaps David Mamet) can make profanity sound so poetic?
For anyone who thought they knew the breadth of Bruce Willis' and John Travolta's acting ability, a surprise awaits. Whether it's an effect of the script, the direction, or something else, these two turn in surprisingly strong performances. And they're not the only ones. Uma Thurman, Rosanna Arquette, Ving Rhames, Harvey Keitel, Tim Roth, Amanda Plummer, Eric Stoltz (who has a Tarantino-related triple play with Pulp Fiction, Killing Zoe, and Sleep With Me), and the director himself are all excellent. And then there's Samuel L. Jackson, who seems to get better with every outing.
All the details are executed to perfection. Ironies abound in the smallest situations. One death is caused by, of all things, a poptart. And it takes a director of rare talent to find the comedy in so many macabre situations. This goes beyond gallows humor. Mixing the original with the derivative, Tarantino pushes Pulp Fiction in directions that are equally anticipated and unexpected.
Relentless in its pace, Pulp Fiction is as exhausting as it is exhilarating. In between all the shootings, Mexican standoffs, and other violent confrontations exist opportunities to explore various facets of the human experience, including rebirth and redemption. With this film, every layer that you peel away leads to something deeper and richer. Tarantino makes pictures for movie-lovers, and Pulp Fiction is a near-masterpiece.
© 1994 James Berardinelli
Re: Pulp Fiction
I dashur Glamdring,
De gustis non est disputandum. Kjo eshte me se e qarte.
Persa i perket cmimit Oscar edhe une kam patur dhe kam mendimin se jo gjithmone numri i fituar i tyre tregon mbi cilesine e nje filmi. Por une nuk do arrija deri aty sa te them qe cdo film qe ka fituar shume Oscar nuk duhet pare, pasi gjithesesi ato shperndahen nga nje komision i mbushur me plot specialiste dhe prominente te kinematografise amerikane. Une, ti (me fal qe te fus edhe ty ne kete mes, nuk e di, mund te jesh edhe specialist kinematografie) e shume te tjere nuk jemi gje tjeter vecse konsumatoret e thjeshte qe pavaresisht kemi mendimin personal, objektiv apo subjektiv, nuk ka rendesi. Une per vete edhe nqs nuk me pelqen lulelakra nuk i them dynjase te mos e haje ate.
"Pulp Fiction" ka thyer tabu. Hera e pare qe ne film tregohej si nje gje e natyrshme injektimi i heroines, drogimi, perdhunimi i Marcellus Wallace, i cili nga nje Bos i plotfuqishem i krimit dhe i droges kthehet ne nje sextoy per Maynard dhe Zed dhe pa harruar fantazite seksuale te Maynard dhe te Zed (sekuenca "Bring out the Gimp"). Ndoshta tani duken gjera te natyrshme kur i sheh neper filma, por mos harro qe "Pulp Fiction" u shfaq ne 1994. Keto gjera atehere jo vetem ishin tabu, por edhe shokuese per publikun e kinemase europiane (une filmin e kam pare per here te pare ne kinema ne Gjermani). “Pulp Fiction” fitoi “Palme d´oré” ne Festival de Cannes dhe u vleresua me superlativa nga i gjithe shtypi.
Une “Pulp Fiction” as nuk e krahasoj fare me “Gone with the wind”. Do te ishte perulje e padrejtesi kundrejt “Pulp Fiction”. Doja vetem te shtoja qe ne “Gone with the wind” lufta civile amerikane eshte vetem ne sfond dhe sherben si pune kalendari ne menyre qe te arrihet ndertimi linear i ngjarjeve ne film. I gjithe filmi eshte nje stergjatje deri ne terhiq e mos keput i historise se dashurise dhe mosdashurise mes Red dhe Scarlet.
Persa i perket idese, skenarit, regjise dhe castit ma merr mendja qe edhe ti je dakort qe “Pulp Fiction” beri revolucion ne kinematografi.
Do te doja te shtoja qe nuk e gjej me vend krahasimin e Tarantino me Kubrick, sepse qe te dy jane gjigande te kinematografise boterore. Mes gjigandeve eshte e kote te vertetosh se kush eshte me i madh.
Do te lutesha te me tregoje cfare ke lexuar mes rrjeshtave dhe cfare ke pare ti mes skenave te “Terminator” dhe pastaj do te thoja une se cfare eshte shkruar dhe cfare eshte shfaqur mes rrjeshtave te “Pulp Fiction”.
--------------------------------------------------------------------------Fillimisht postuar nga Glamdring:
Ta fillojme nga fillimi. Oscar eshte nje idiotesi qe nuk ka te pershkruar. Nese nje film ka fituar shume Oscar nuk duhet pare!!! Te pakten ky eshte mendimi im. Per cilin Olimp e ke llafin?!? Ate te filmave?!? "Pulp Fiction" paska thyer tabu?!? Cilat qenkan keto???
Nuk mund te krahasosh "Pulp Fiction" dhe "Gone with the Wind", sepse jane dy tipe filmash krejtesisht te ndryshem. Ne "Gone with the Wind" flitet per luften civile te Amerikes dhe si e tille eshte paraqitur mjaft mire. Per ate qe do te shikoje, kuptohet.
Nuk do ta keshilloja te kruheshe me filma te vjeter, sepse Pulp Fiction do dilte aty nga fundi i listes si nga idete, cast, skenar, etj. Pastaj une kam idene qe ti nuk ke arritur ta kuptosh si duhet "Terminator I" apo "Terminator II". Ka me teper aty sesa Arnoldi qe del me motorr dhe shot gun. Keto pamje jane per ata trapat qe duan vetem dhune. Shpesh duhet lexuar midis rreshtave apo pare midis skenave.
Filma te Kubrick si "The Shining", "2001 - A Space Oddyssey", "A Clockwork Orange", "Barry Lyndon", etj jane bere te gjithe perpara "Pulp Fiction" dhe Tarantino & CO. te dilte verdalle. Permenda filma te Kubrick meqe pjesa me e madhe e filmave te tij ashtu si "Pulp Fiction" perfshihen ne ate qe quhet filma CULT.
Dhe e gjithe kjo nuk do te thote qe mua nuk me pelqen "Pulp Fiction". Perkundrazi... [/QB]
I dashur Glamdring,
De gustis non est disputandum. Kjo eshte me se e qarte.
Persa i perket cmimit Oscar edhe une kam patur dhe kam mendimin se jo gjithmone numri i fituar i tyre tregon mbi cilesine e nje filmi. Por une nuk do arrija deri aty sa te them qe cdo film qe ka fituar shume Oscar nuk duhet pare, pasi gjithesesi ato shperndahen nga nje komision i mbushur me plot specialiste dhe prominente te kinematografise amerikane. Une, ti (me fal qe te fus edhe ty ne kete mes, nuk e di, mund te jesh edhe specialist kinematografie) e shume te tjere nuk jemi gje tjeter vecse konsumatoret e thjeshte qe pavaresisht kemi mendimin personal, objektiv apo subjektiv, nuk ka rendesi. Une per vete edhe nqs nuk me pelqen lulelakra nuk i them dynjase te mos e haje ate.
"Pulp Fiction" ka thyer tabu. Hera e pare qe ne film tregohej si nje gje e natyrshme injektimi i heroines, drogimi, perdhunimi i Marcellus Wallace, i cili nga nje Bos i plotfuqishem i krimit dhe i droges kthehet ne nje sextoy per Maynard dhe Zed dhe pa harruar fantazite seksuale te Maynard dhe te Zed (sekuenca "Bring out the Gimp"). Ndoshta tani duken gjera te natyrshme kur i sheh neper filma, por mos harro qe "Pulp Fiction" u shfaq ne 1994. Keto gjera atehere jo vetem ishin tabu, por edhe shokuese per publikun e kinemase europiane (une filmin e kam pare per here te pare ne kinema ne Gjermani). “Pulp Fiction” fitoi “Palme d´oré” ne Festival de Cannes dhe u vleresua me superlativa nga i gjithe shtypi.
Une “Pulp Fiction” as nuk e krahasoj fare me “Gone with the wind”. Do te ishte perulje e padrejtesi kundrejt “Pulp Fiction”. Doja vetem te shtoja qe ne “Gone with the wind” lufta civile amerikane eshte vetem ne sfond dhe sherben si pune kalendari ne menyre qe te arrihet ndertimi linear i ngjarjeve ne film. I gjithe filmi eshte nje stergjatje deri ne terhiq e mos keput i historise se dashurise dhe mosdashurise mes Red dhe Scarlet.
Persa i perket idese, skenarit, regjise dhe castit ma merr mendja qe edhe ti je dakort qe “Pulp Fiction” beri revolucion ne kinematografi.
Do te doja te shtoja qe nuk e gjej me vend krahasimin e Tarantino me Kubrick, sepse qe te dy jane gjigande te kinematografise boterore. Mes gjigandeve eshte e kote te vertetosh se kush eshte me i madh.
Do te lutesha te me tregoje cfare ke lexuar mes rrjeshtave dhe cfare ke pare ti mes skenave te “Terminator” dhe pastaj do te thoja une se cfare eshte shkruar dhe cfare eshte shfaqur mes rrjeshtave te “Pulp Fiction”.
Re: Pulp Fiction
For "Pulp Fiction" fan only: :smash: :smash: :smash:
Detaje nga filmi,
1. te cilat anashkalohen kollaj (per ata qe nuk jane treguar te vemendshem gjate filmit)
- Gjate skenes se hapjes me Pumpkin dhe Honey Bunny mund te shihet Vincent Vega qe ecen drejt banjos
- Gjithashtu ne po kete skene mund te degjohet ne background edhe Jules kur flet.
- Esmeralda Villa Lobos (Angela Jones) luan edhe ne filmin Curdled. Perse? Sepse edhe ne "Pulp Fiction" luan rolin e nje psikopateje
- Kur Butch kthehet ne banesen e tij per te mare oren qe harroi Fabienne, transmetohet ne radio nje reklame per restorantin Jack Rabbit Slims
- Gjyshi i Butch e bleu oren e floririt ne Knoxville, Tennessee, vendlindja e Tarantinos
2. te cilat jane te paqarta ose te pashpjegueshme
- Ne skenen e hapjes Honey Bunny (Amanda Plummer) bertet: "...and I'll execute every motherfucking last one of ya!", kurse ne skenen tjeter ne fund: "...and I'll execute every one of ya mother fuckers!". Per tu permendur eshte se ky ndryshim eshte futur qellimisht me vone ne script, por asnjeri nuk e di deri me sot perse.
- Kur Jules i permend Brett Ezekiel 25:17 thote ne te dyja skenat: "...and you will know my name is the Lord...", kurse kur e thote ne skenen e fundit me Pumpkin eshte: "...and you will know I am the Lord...". E rendesishme per tu thene eshte se ne Bibel pasazhi Ezekiel 25:17 eshte krejt ndryshe.
- Jules qellon mbi Brett derisa 9mm i tij eshte bosh. Ne skenen, kur shoku i Brett dridhet ne banjo, 9mm i tij ka akoma nje apo dy fisheke. Me vone ai e ka karikatorin plot kur bashke me Vincent qellon kunder atij. Gjithashtu vrimat e plumbave te shokut te Brett, kur qellon mbi Vincent dhe Jules, mund te dallohen para se ai ti qellonta ata. Perfundimi: Gabim ne kamera dhe regji.
- Skena kur Vincent dhe Mia Wallace jane ne restorant. Vincent rrufit nje gllenjke te madhe te Milkshake te Mias, por ne momentin qe ia jep prape Mias eshte perseri plot.
- Perse Mia vizaton nje katror (square) ne ajer do te pyesin ata qe nuk e kane pare filmin ne anglisht, por vetem me perkthimin shqip ose italisht ose gjermanisht? Sepse square pervec se katror do te thote pak a shume edhe shpirtngushte. Pra "Don´t be a square" do te perkthehej pak a shume "Mos u trego shpirt ngushte ose i vogel". Batuta nuk ben efekt ne gjuhet e tjera.
- Perse merr Mia overdose? E thjeshte, heroina qe blen Vincent eshte e kualitetit te larte dhe duket si kokaine dhe duke qene se dealers i jane mbaruar qeset per paketimin e heroines e fut heroinen e Vincent ne qese kokaine. Mia ngaterron heroinen me kokainen.
- Perse e len Vincent armen mbi tavolinen e kuzhines dhe iken ne banjo? E thjeshte, arma nuk eshte fare e Vincent, por e dikujt qe ishte bashke me te ne banesen e Butch. Prandaj ndoshta edhe nuk reagon kur Butch futet ne banese. Ai kujton se partneri i tij u kthye perseri. Dhe eshte pikerisht Marcellus Wallace, ai qe ishte me Vincent ne banesen e Butch, pasi Jules ishte terhequr nga biznesi dhe Marcellus nuk kishte njeri tjeter te lire per ti dhene Vincent per te ekzekutuar Butch, keshtu qe e shoqeron vete Vincent. Kjo eshte edhe arsyeja perse Marcellus Wallace takohet me Butch dhe ka ne dore nje pako letre nga Fast Food. Ai kishte ikur per te blere dicka per te ngrene dhe po kthehej ne apartamentin e Butch ku po e priste Vincent tashme i vrare.
- Perse e njeh Jules nje ngordhalaq si puna e Jimmy? Sepse Jimmy para se te martohej me Bonnie punonte per Marcellus Wallace.
- Cfare gjendet ne valixhen qe Jules dhe Vincent marrin ne apartamentin e Brett? Ka shume spekulacione, pasi edhe vete Tarantino thote ne menyre mistike qe as ai vete nuk e ka idene dhe ja ka lene ne dore fantazise se shikuesve per ta gjetur cfare ka aty. Ka nje version qe thote qe aty gjenden diamantet e vjedhura ne "Reservoir Dogs". Disa e lidhin me nje personifikim te Marcellus Wallace me djallin, pasi jo me kot kodi i hapjes se valixhes eshte 666 dhe shfaqe gjoja rreshkitasi, por fare qarte. Dhe spekullohet gjithashtu qe leokoplasti ne qafen e Marcellus mbulon numrin 666 dhe kur ata hapin valixhen dhe ndricohen nga nje drite e verdhe spekullohet qe ajo eshte shpirti i Marcellus Wallace. Kjo del edhe me vone kur Jules qe kthehet drejt Zotit i penduar shpeton, kurse Vincent qe tallet me Jules dhe qendron me Marcellus Wallace (Djalli) vdes. askush nuk e di me siguri, keshtu qe akoma mbetet mister dhe ne doren e fantazise se shikuesve.
Tani per tani kaq. Shikim te mbare te "Pulp Fiction" dhe jini te vemendshem!
:smash: :smash: :smash:
For "Pulp Fiction" fan only: :smash: :smash: :smash:
Detaje nga filmi,
1. te cilat anashkalohen kollaj (per ata qe nuk jane treguar te vemendshem gjate filmit)
- Gjate skenes se hapjes me Pumpkin dhe Honey Bunny mund te shihet Vincent Vega qe ecen drejt banjos
- Gjithashtu ne po kete skene mund te degjohet ne background edhe Jules kur flet.
- Esmeralda Villa Lobos (Angela Jones) luan edhe ne filmin Curdled. Perse? Sepse edhe ne "Pulp Fiction" luan rolin e nje psikopateje
- Kur Butch kthehet ne banesen e tij per te mare oren qe harroi Fabienne, transmetohet ne radio nje reklame per restorantin Jack Rabbit Slims
- Gjyshi i Butch e bleu oren e floririt ne Knoxville, Tennessee, vendlindja e Tarantinos
2. te cilat jane te paqarta ose te pashpjegueshme
- Ne skenen e hapjes Honey Bunny (Amanda Plummer) bertet: "...and I'll execute every motherfucking last one of ya!", kurse ne skenen tjeter ne fund: "...and I'll execute every one of ya mother fuckers!". Per tu permendur eshte se ky ndryshim eshte futur qellimisht me vone ne script, por asnjeri nuk e di deri me sot perse.
- Kur Jules i permend Brett Ezekiel 25:17 thote ne te dyja skenat: "...and you will know my name is the Lord...", kurse kur e thote ne skenen e fundit me Pumpkin eshte: "...and you will know I am the Lord...". E rendesishme per tu thene eshte se ne Bibel pasazhi Ezekiel 25:17 eshte krejt ndryshe.
- Jules qellon mbi Brett derisa 9mm i tij eshte bosh. Ne skenen, kur shoku i Brett dridhet ne banjo, 9mm i tij ka akoma nje apo dy fisheke. Me vone ai e ka karikatorin plot kur bashke me Vincent qellon kunder atij. Gjithashtu vrimat e plumbave te shokut te Brett, kur qellon mbi Vincent dhe Jules, mund te dallohen para se ai ti qellonta ata. Perfundimi: Gabim ne kamera dhe regji.
- Skena kur Vincent dhe Mia Wallace jane ne restorant. Vincent rrufit nje gllenjke te madhe te Milkshake te Mias, por ne momentin qe ia jep prape Mias eshte perseri plot.
- Perse Mia vizaton nje katror (square) ne ajer do te pyesin ata qe nuk e kane pare filmin ne anglisht, por vetem me perkthimin shqip ose italisht ose gjermanisht? Sepse square pervec se katror do te thote pak a shume edhe shpirtngushte. Pra "Don´t be a square" do te perkthehej pak a shume "Mos u trego shpirt ngushte ose i vogel". Batuta nuk ben efekt ne gjuhet e tjera.
- Perse merr Mia overdose? E thjeshte, heroina qe blen Vincent eshte e kualitetit te larte dhe duket si kokaine dhe duke qene se dealers i jane mbaruar qeset per paketimin e heroines e fut heroinen e Vincent ne qese kokaine. Mia ngaterron heroinen me kokainen.
- Perse e len Vincent armen mbi tavolinen e kuzhines dhe iken ne banjo? E thjeshte, arma nuk eshte fare e Vincent, por e dikujt qe ishte bashke me te ne banesen e Butch. Prandaj ndoshta edhe nuk reagon kur Butch futet ne banese. Ai kujton se partneri i tij u kthye perseri. Dhe eshte pikerisht Marcellus Wallace, ai qe ishte me Vincent ne banesen e Butch, pasi Jules ishte terhequr nga biznesi dhe Marcellus nuk kishte njeri tjeter te lire per ti dhene Vincent per te ekzekutuar Butch, keshtu qe e shoqeron vete Vincent. Kjo eshte edhe arsyeja perse Marcellus Wallace takohet me Butch dhe ka ne dore nje pako letre nga Fast Food. Ai kishte ikur per te blere dicka per te ngrene dhe po kthehej ne apartamentin e Butch ku po e priste Vincent tashme i vrare.
- Perse e njeh Jules nje ngordhalaq si puna e Jimmy? Sepse Jimmy para se te martohej me Bonnie punonte per Marcellus Wallace.
- Cfare gjendet ne valixhen qe Jules dhe Vincent marrin ne apartamentin e Brett? Ka shume spekulacione, pasi edhe vete Tarantino thote ne menyre mistike qe as ai vete nuk e ka idene dhe ja ka lene ne dore fantazise se shikuesve per ta gjetur cfare ka aty. Ka nje version qe thote qe aty gjenden diamantet e vjedhura ne "Reservoir Dogs". Disa e lidhin me nje personifikim te Marcellus Wallace me djallin, pasi jo me kot kodi i hapjes se valixhes eshte 666 dhe shfaqe gjoja rreshkitasi, por fare qarte. Dhe spekullohet gjithashtu qe leokoplasti ne qafen e Marcellus mbulon numrin 666 dhe kur ata hapin valixhen dhe ndricohen nga nje drite e verdhe spekullohet qe ajo eshte shpirti i Marcellus Wallace. Kjo del edhe me vone kur Jules qe kthehet drejt Zotit i penduar shpeton, kurse Vincent qe tallet me Jules dhe qendron me Marcellus Wallace (Djalli) vdes. askush nuk e di me siguri, keshtu qe akoma mbetet mister dhe ne doren e fantazise se shikuesve.
Tani per tani kaq. Shikim te mbare te "Pulp Fiction" dhe jini te vemendshem!
:smash: :smash: :smash:
Re: Pulp Fiction
Fillimisht postuar nga Archi:
[qb]Eshte e vertete qe une nuk jam specialist filmi, megjithate si u shpreha edhe me pare, mendimi im per Oscar nuk ndryshon. Pastaj nese mendimi im apo i joti nuk ka rendesi (qe jemi konsumatore) mendimi i kujt paska rendesi? I dhenesve te Oscar? Me te vertete ti merr mendimin e tyre? Do doja te te kujtoja qe Titanic qe ti permende diku me siper mori 11 Oscar!!! A nuk te ben te mendosh ndopak per vleren e vertete te Oscar?!? Ka me dhjetra filma te tjere shume te mire qe nuk arrijne ne naten e Oscar, sepse keshtu ia do qejfi Holliwood dhe jo sepse cilesia e tyre eshte e ulet. Eshte nje biznes kaq i ndyre... Vertete qe ka filma qe vleresohen here pas here per ato qe jane, por kjo eshte e rralle. Shyqyr Zotit qe aksidentet edhe ndodhin ndonjehere.Persa i perket cmimit Oscar edhe une kam patur dhe kam mendimin se jo gjithmone numri i fituar i tyre tregon mbi cilesine e nje filmi. Por une nuk do arrija deri aty sa te them qe cdo film qe ka fituar shume Oscar nuk duhet pare, pasi gjithesesi ato shperndahen nga nje komision i mbushur me plot specialiste dhe prominente te kinematografise amerikane. Une, ti (me fal qe te fus edhe ty ne kete mes, nuk e di, mund te jesh edhe specialist kinematografie) e shume te tjere nuk jemi gje tjeter vecse konsumatoret e thjeshte qe pavaresisht kemi mendimin personal, objektiv apo subjektiv, nuk ka rendesi. Une per vete edhe nqs nuk me pelqen lulelakra nuk i them dynjase te mos e haje ate.[/qb]
Fillimisht postuar nga Archi:
[qb]Une nuk i kam mohuar ndonjehere vlerat e Pulp Fiction, ndonese nuk besoj se Pulp Fiction eshte filmi i pare qe ka treguar se sa haptas merret heroina. E çfare pastaj se u perdhunua Marcellus! Kujt i plas?!? Kjo eshte tabuja e thyer?!?"Pulp Fiction" ka thyer tabu. Hera e pare qe ne film tregohej si nje gje e natyrshme injektimi i heroines, drogimi, perdhunimi i Marcellus Wallace, i cili nga nje Bos i plotfuqishem i krimit dhe i droges kthehet ne nje sextoy per Maynard dhe Zed dhe pa harruar fantazite seksuale te Maynard dhe te Zed (sekuenca "Bring out the Gimp"). Ndoshta tani duken gjera te natyrshme kur i sheh neper filma, por mos harro qe "Pulp Fiction" u shfaq ne 1994. Keto gjera atehere jo vetem ishin tabu, por edhe shokuese per publikun e kinemase europiane (une filmin e kam pare per here te pare ne kinema ne Gjermani). “Pulp Fiction” fitoi “Palme d´oré” ne Festival de Cannes dhe u vleresua me superlativa nga i gjithe shtypi.[/qb]
Fillimisht postuar nga Archi:
[qb]Ti po mundohesh te krahasosh molle me dardha. Ka njerez qe i pelqejne te dyja, ka njerez qe pelqejne vetem njeren dhe ka njerez qe nuk pelqejne as njeren as tjetren. Mendimi im ne lidhje me "Gone with the wind" eshte disi ndryshe nga i yti, megjithate le te mos dalim jashte teme...Une “Pulp Fiction” as nuk e krahasoj fare me “Gone with the wind”. Do te ishte perulje e padrejtesi kundrejt “Pulp Fiction”. Doja vetem te shtoja qe ne “Gone with the wind” lufta civile amerikane eshte vetem ne sfond dhe sherben si pune kalendari ne menyre qe te arrihet ndertimi linear i ngjarjeve ne film. I gjithe filmi eshte nje stergjatje deri ne terhiq e mos keput i historise se dashurise dhe mosdashurise mes Red dhe Scarlet.[/qb]
Fillimisht postuar nga Archi:
[qb]Me vjen keq, por nuk mendoj se Tarantino ka bere revolucion. Tarantino ka nxjerre dy filma te mire: Reservoir Dogs dhe Pulp Fiction. Do te te kujtoja se ndarja e ngjarjeve ne menyre te ngjashme si ne Pulp Fiction eshte bere me pare. "Once upon the time in the west" 1968 me vjen ne mendje (Regji: Sergio Leone, Luan: Henry Fonda, Cladia Cardinale dhe Charles Bronson). Aty ka 3 histori qe nderthyren. Ketu po bej thjesht krahasim midis rrjedhes se ngjarjeve, nuk i futem fare ideve te filmit, sepse Pulp Fiction eshte vite drite prapa. Gjithashtu dy filma te tjere te shkelqyer qe me vijne ne mendje jane: "Happiness" dhe "Magnolia", ndonese keto jane bere me vone sesa Pulp Fiction. Dhe po ashtu ketu nuk po bej krahasim ne idete qe filmat japin, por thjesht ne rrjedhjen e ngjarjeve. Po ashtu Forest Gump qe eshte bere ne te njejtin vit si Pulp Fiction ka nje seri te tere nderthyrjesh...Persa i perket idese, skenarit, regjise dhe castit ma merr mendja qe edhe ti je dakort qe “Pulp Fiction” beri revolucion ne kinematografi.[/qb]
Fillimisht postuar nga Archi:
[qb]Ke te drejte, kur Tarantino te arrije sadopak madheshtine e filmave te Kubrick do jete me te vertete nje dite e shkelqyer. Sa per thellesine e detajeve, ketu eshte kot per te folur. Mjafton te shikosh Barry Lyndon qe te bindesh sesa prapa eshte Tarantino. Te mos permendim Eyes Wide Shot. Dhe perseri ketu po flas vetem thellesine e detajeve.Do te doja te shtoja qe nuk e gjej me vend krahasimin e Tarantino me Kubrick, sepse qe te dy jane gjigande te kinematografise boterore. Mes gjigandeve eshte e kote te vertetosh se kush eshte me i madh.[/qb]
Fillimisht postuar nga Archi:
[qb]Ok, po te jap ca ide ne vija te pergjithshme mbi kete film. Ne ndryshim nga filmat e tjere qe flasin per udhetim ne kohe, Terminator e trajton kete gje shume me seriozisht. Ne kete film e ardhmja eshte e fiksuar dhe karakteret e dine qe nuk mund t'i shpetojne. Ne vend qe te perpiqen ta ndryshojne fatin e tyre, ata (karakteret) mundohen ta luftojne pavarsisht sesa i tmershem fundi mund te jete. Atmosfera e ketij fundi te llahtarshem ndihet gjate gjithe filmit dhe kjo shume mire kuptohet po te mendohet se kur filmi eshte bere. Ne 1984 lufta e ftohte nen drejtimin e Reagan kishte çuar ne ndertimin e armeve shume te sofistikuara te cilat nese dilnin jashte kontrollit mund te sillnin te gjithe boten ne pluhur. Nese nuk e di i gjithe filmi eshte xhiruar naten (kjo per arsye buxheti), por kjo i ka dhene dore filmit per te krijuar nje atmosfere akoma me te erret dhe me frikshme. Nga ana tjeter, trajtimi i superioritetit te robeteve nadj njerezve si makina vrasese eshte i shkelqyer. Tregon shume qarte se çfare mund te jene disa nga pasojat e perparimin ne teknologji dhe kthimin e njerezve nga pronare ne skllever. Vetem ketu ke mjaftueshem material per te bere shikuesin e kujdesshem te mendohet me ore te tera.Do te lutesha te me tregoje cfare ke lexuar mes rrjeshtave dhe cfare ke pare ti mes skenave te “Terminator” dhe pastaj do te thoja une se cfare eshte shkruar dhe cfare eshte shfaqur mes rrjeshtave te “Pulp Fiction”. [/qb]
Jo vetem kaq, por edhe karakteret jane paraqitur shume mire. Jane njerez te thjeshte, por qe marin forme pothuajse ne nje dimension tjeter: nga njerez qe jane krejtesisht te humbur ne fatin e tyre kalojne ne njerez qe perpiqen me gjithe forcat te kapen pas asaj fijes se holle te shpreses per nje te ardhme me te mire. Karakteret nuk jane thejsht figurina apo steriotipe, por kane boten e tyre qe eshte shume njerezore.
Deri ketu nuk permenda fare efektet speciale, sepse keto u permisuan shume me teper tek Terminator II, por ky i fundit humbi origjinalitetin e ideve. Pavarsisht si science-fiction, Terminator I per mua eshte nga me te miret. Kaq shume i keqkuptuar!!!
Re: Pulp Fiction
zgjedhja e manges:
per rrjedhjen e kohes n'film: memento
per drogen edhe varshmenite tjera: requiem for a dream
pulp fiction: it's a good fucking pulp movie for pulp fucking people - and that's you and me, my friend, you and me, having pulpy lives...
PULP FICTION - vern, an outlaw reviews the films of cinema
Shit man I really can't believe nobody told me about this movie! I'm out of the picture for most of the '90s and all the sudden Bruce is in a classic film that is NOT a Die Hard!
This is the story of Butch Coolidge, a boxer who gets mixed up with a crime boss named Marcellus Wallace. Marcellus pays Bruce to throw a fight. Word spreads that the fix is on and the odds get out of control. Butch and his buddy in Tennessee make huge bets on the fight and then instead of throwing it, he beats the other dude to death.
He flees to a hotel to hook up with his lady friend Fabian who is French I believe. This scene is a study in contrasts because we see that this bad motherfucker who beats a man to death comes home to his lady and gets all cute on us. They're all baby talking, rolling around on the bed snuggling and talking about "give me oral pleasure," "will you kiss it," etc., It's so true to life it's embarrassing to watch.
Well needless to say Marcellus is not happy about the whole not throwing the fight thing, and Bruce knows he's gotta get out of town. One problem though: when Fabian got his things out of the apartment she forgot the antique watch that his dad gave him after hiding it in his ass for five years while in a POW camp. I think he wants it for sentimental value because the ass smell probaly makes it not worth that much financially.
There is a real subtle touch I noticed where these two lovebirds are goofing around in the shower, calling each other mongoloid and Bruce starts teaching her spanish phrases like "What time is it?" Fabian gets this look on her face and says "Bootch?" (that's how she says it, she is French) but he's falling asleep and she says "Never mind." I think she knew she forgot to get the ass watch.
Anyway Bootch goes back for the ass watch and runs into trouble, even crossing paths with Marcellus in a scene lifted from AL HItchcock's picture "Psycho." They have a chaotic shootout scuffle down the street and run into a pawn shop where a MAJOR out of the blue twist takes place. I won't give it away but let's just say these redneck S&M perverts tie them up and start doing Marcellus up the ass. (If you've seen the movie you know what I'm talking about)
This picture is about morals and redemption and what would you do if your worst enemy was getting raped up the cornhole and you had a chance to save him.
There is also some subplots about two hitmen and in a clever touch, one is played by Die Hard With a Vengeance's Samuel L. Jackson. You keep expecting he and Bruce to meet up but it never happens.
This picture has a very unique and at the same time familiar feel. It harkens back to the '70s with its fashions and photography and music and at the same time is nostalgic for the '50s which come to think of it was popular in the '70s so I guess this is just nostalgic for the '50s nostalgia of the '70s and not for the '50s themselves. What I like is that this film shows you the parts that would be cut out of the usual crime movies, like the part where the two hitmen get to their place of intimidation a few minutes early so they hang back and have a debate. These are some funny motherfuckers and they are kind of like little kids, they have to clean up the body before mom gets home. If anyone knows any other movies like this please let me know this is some good shit in my opinion.
It also has kind of an epic feel even though the stories are small. It is a long movie but never gets boring. The direction allows room to breathe and get to know these characters even though they are archetype type characters. There is great music but it is not wall to wall and there is no scoring or what not to interfere either. And the cast is great with many great performances: obviously Bruce and Sam, but also Johnny Travolta (who took a fall with the baby movies just as Bruce did), Chris Walken, Harvey Keitel the pimp from Taxi Driver, etc.
The young cinematist behind this particular picture is Mr. Quentin Tarantino who in my opinion is one to look out for. I will be discussing his other works in the coming weeks and I hope some of you will take my word for it and go check them out. This guy is good although I have reason to believe he reads spiderman comic books.
zgjedhja e manges:
per rrjedhjen e kohes n'film: memento
per drogen edhe varshmenite tjera: requiem for a dream
pulp fiction: it's a good fucking pulp movie for pulp fucking people - and that's you and me, my friend, you and me, having pulpy lives...
PULP FICTION - vern, an outlaw reviews the films of cinema
Shit man I really can't believe nobody told me about this movie! I'm out of the picture for most of the '90s and all the sudden Bruce is in a classic film that is NOT a Die Hard!
This is the story of Butch Coolidge, a boxer who gets mixed up with a crime boss named Marcellus Wallace. Marcellus pays Bruce to throw a fight. Word spreads that the fix is on and the odds get out of control. Butch and his buddy in Tennessee make huge bets on the fight and then instead of throwing it, he beats the other dude to death.
He flees to a hotel to hook up with his lady friend Fabian who is French I believe. This scene is a study in contrasts because we see that this bad motherfucker who beats a man to death comes home to his lady and gets all cute on us. They're all baby talking, rolling around on the bed snuggling and talking about "give me oral pleasure," "will you kiss it," etc., It's so true to life it's embarrassing to watch.
Well needless to say Marcellus is not happy about the whole not throwing the fight thing, and Bruce knows he's gotta get out of town. One problem though: when Fabian got his things out of the apartment she forgot the antique watch that his dad gave him after hiding it in his ass for five years while in a POW camp. I think he wants it for sentimental value because the ass smell probaly makes it not worth that much financially.
There is a real subtle touch I noticed where these two lovebirds are goofing around in the shower, calling each other mongoloid and Bruce starts teaching her spanish phrases like "What time is it?" Fabian gets this look on her face and says "Bootch?" (that's how she says it, she is French) but he's falling asleep and she says "Never mind." I think she knew she forgot to get the ass watch.
Anyway Bootch goes back for the ass watch and runs into trouble, even crossing paths with Marcellus in a scene lifted from AL HItchcock's picture "Psycho." They have a chaotic shootout scuffle down the street and run into a pawn shop where a MAJOR out of the blue twist takes place. I won't give it away but let's just say these redneck S&M perverts tie them up and start doing Marcellus up the ass. (If you've seen the movie you know what I'm talking about)
This picture is about morals and redemption and what would you do if your worst enemy was getting raped up the cornhole and you had a chance to save him.
There is also some subplots about two hitmen and in a clever touch, one is played by Die Hard With a Vengeance's Samuel L. Jackson. You keep expecting he and Bruce to meet up but it never happens.
This picture has a very unique and at the same time familiar feel. It harkens back to the '70s with its fashions and photography and music and at the same time is nostalgic for the '50s which come to think of it was popular in the '70s so I guess this is just nostalgic for the '50s nostalgia of the '70s and not for the '50s themselves. What I like is that this film shows you the parts that would be cut out of the usual crime movies, like the part where the two hitmen get to their place of intimidation a few minutes early so they hang back and have a debate. These are some funny motherfuckers and they are kind of like little kids, they have to clean up the body before mom gets home. If anyone knows any other movies like this please let me know this is some good shit in my opinion.
It also has kind of an epic feel even though the stories are small. It is a long movie but never gets boring. The direction allows room to breathe and get to know these characters even though they are archetype type characters. There is great music but it is not wall to wall and there is no scoring or what not to interfere either. And the cast is great with many great performances: obviously Bruce and Sam, but also Johnny Travolta (who took a fall with the baby movies just as Bruce did), Chris Walken, Harvey Keitel the pimp from Taxi Driver, etc.
The young cinematist behind this particular picture is Mr. Quentin Tarantino who in my opinion is one to look out for. I will be discussing his other works in the coming weeks and I hope some of you will take my word for it and go check them out. This guy is good although I have reason to believe he reads spiderman comic books.
arber qemali
Primus registratum
Re: Pulp Fiction
Pulp Fiction
1994 - USA - 160 min. - Feature, Color
AMG Rating (High Artistic Quality, High Historical Importance)
Director Quentin Tarantino
Genre/Type Crime, Ensemble Film, Crime Comedy, Satire, Gangster Film
Artistic/ Production Styles Episodic, Non-linear
Flags Adult Situations, Adult Humor, Substance Abuse (Alcohol, Drugs), Strong Sexual Content, Sexual Violence, Profanity, Graphic Violence, Not For Children
Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jetée. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic.
A critical sensation and a box-office hit, Quentin Tarantino's Pulp Fiction (1994) embedded its movie-made world of loquacious hit men and fateful coincidences into the popular consciousness, becoming one of the most influential films of the 1990s. Updating the hard-boiled crime film with postmodern aplomb, and twisting movie time as adroitly as Orson Welles and Stanley Kubrick, Tarantino weaves a morality play through a pop culture fun house drawn from sources as disparate as 1950s and 1970s kitsch, Jean-Luc Godard, Howard Hawks, boxing flicks, Hong Kong action movies, and Kiss Me Deadly (1955). The surreal yet realistic atmosphere, long takes, and wittily pop-literate non-stop dialogue emotionally engage the viewer in the minutiae of the characters' experience even as the film also comments on their status as pulp creations, rendering the moments of shockingly baroque violence simultaneously humorous and ghastly. Winner of numerous critics' prizes and the Palme d'Or at the Cannes Film Festival, Pulp Fiction was nominated for seven Oscars, including Best Picture, Best Director, Best Actor for John Travolta's career-resurrecting turn as Vincent, and Best Supporting Actor for Samuel L. Jackson's furiously philosophical Jules; Tarantino and Roger Avary won for Best Original Screenplay. None of its many imitators has yet come close to matching Pulp Fiction's impact. — Lucia Bozzola
John Travolta - Vincent Vega
Samuel L. Jackson - Jules Winnfield
Uma Thurman - Mia Wallace
Harvey Keitel - The Wolf
Bruce Willis - Butch Coolidge
Tim Roth - Pumpkin
Amanda Plummer - Honey Bunny
Ving Rhames - Marsellus Wallace
Eric Stoltz - Lance
Rosanna Arquette - Jody
Christopher Walken - Capt. Koons
Burr Steers - Roger
Robert Ruth - Sportscaster
Emil Sitka - "Hold hands, you love birds!"
Duane Whitaker - Maynard
Frank Whaley - Brett
Rich Turner - Sportscaster
Venessia Valentino - Pedestrian/Bonnie
Julia Sweeney - Raquel
Alexis Arquette - Fourth Man
Quentin Tarantino - Jimmie Dimmick
Steve Buscemi - Buddy Holly look-alike
Kathy Griffin - Herself
Best Actor (nom) John Travolta 1994 Academy
Best Director (nom) Quentin Tarantino 1994 Academy
Best Editing (nom) 1994 Academy
Best Original Screenplay (win) Roger Avary 1994 Academy
Best Original Screenplay (win) Quentin Tarantino 1994 Academy
Best Picture (nom) 1994 Academy
Best Supporting Actor (nom) Samuel L. Jackson 1994 Academy
Best Supporting Actress (nom) Uma Thurman 1994 Academy
Golden Palm (win) Quentin Tarantino 1994 Cannes Film Festival
Pulp Fiction
1994 - USA - 160 min. - Feature, Color
AMG Rating (High Artistic Quality, High Historical Importance)
Director Quentin Tarantino
Genre/Type Crime, Ensemble Film, Crime Comedy, Satire, Gangster Film
Artistic/ Production Styles Episodic, Non-linear
Flags Adult Situations, Adult Humor, Substance Abuse (Alcohol, Drugs), Strong Sexual Content, Sexual Violence, Profanity, Graphic Violence, Not For Children
Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jetée. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic.
A critical sensation and a box-office hit, Quentin Tarantino's Pulp Fiction (1994) embedded its movie-made world of loquacious hit men and fateful coincidences into the popular consciousness, becoming one of the most influential films of the 1990s. Updating the hard-boiled crime film with postmodern aplomb, and twisting movie time as adroitly as Orson Welles and Stanley Kubrick, Tarantino weaves a morality play through a pop culture fun house drawn from sources as disparate as 1950s and 1970s kitsch, Jean-Luc Godard, Howard Hawks, boxing flicks, Hong Kong action movies, and Kiss Me Deadly (1955). The surreal yet realistic atmosphere, long takes, and wittily pop-literate non-stop dialogue emotionally engage the viewer in the minutiae of the characters' experience even as the film also comments on their status as pulp creations, rendering the moments of shockingly baroque violence simultaneously humorous and ghastly. Winner of numerous critics' prizes and the Palme d'Or at the Cannes Film Festival, Pulp Fiction was nominated for seven Oscars, including Best Picture, Best Director, Best Actor for John Travolta's career-resurrecting turn as Vincent, and Best Supporting Actor for Samuel L. Jackson's furiously philosophical Jules; Tarantino and Roger Avary won for Best Original Screenplay. None of its many imitators has yet come close to matching Pulp Fiction's impact. — Lucia Bozzola
John Travolta - Vincent Vega
Samuel L. Jackson - Jules Winnfield
Uma Thurman - Mia Wallace
Harvey Keitel - The Wolf
Bruce Willis - Butch Coolidge
Tim Roth - Pumpkin
Amanda Plummer - Honey Bunny
Ving Rhames - Marsellus Wallace
Eric Stoltz - Lance
Rosanna Arquette - Jody
Christopher Walken - Capt. Koons
Burr Steers - Roger
Robert Ruth - Sportscaster
Emil Sitka - "Hold hands, you love birds!"
Duane Whitaker - Maynard
Frank Whaley - Brett
Rich Turner - Sportscaster
Venessia Valentino - Pedestrian/Bonnie
Julia Sweeney - Raquel
Alexis Arquette - Fourth Man
Quentin Tarantino - Jimmie Dimmick
Steve Buscemi - Buddy Holly look-alike
Kathy Griffin - Herself
Best Actor (nom) John Travolta 1994 Academy
Best Director (nom) Quentin Tarantino 1994 Academy
Best Editing (nom) 1994 Academy
Best Original Screenplay (win) Roger Avary 1994 Academy
Best Original Screenplay (win) Quentin Tarantino 1994 Academy
Best Picture (nom) 1994 Academy
Best Supporting Actor (nom) Samuel L. Jackson 1994 Academy
Best Supporting Actress (nom) Uma Thurman 1994 Academy
Golden Palm (win) Quentin Tarantino 1994 Cannes Film Festival