….That did it, man — I’m fuckin’ goin’, that’s all there is to it…you’ll dig it the most. But you know what the funniest thing about Europe is? In Paris, you can buy beer at McDonald’s. Also, you know what they call a Quarter Pounder with Cheese in Paris? They don’t call it a Quarter Pounder with Cheese? No, they got the metric system there, they would not know what the fuck a Quarter Pounder is. What’d they call it? Royale with Cheese..i seen ’em doing it. And I don’t mean a little bit on the side of the plate, they fuckin’ drown ‘em in Mayonnaise.   

Well, that’s how the viewer is introduced to Vincent and Jules, the hit men from L.A.’s criminal underworld and their fast talk and perverse humor. It’s the sheer flow of conversations packed with sharp-mindedness, crude language and profanity without a straightjacketed face-to-face format and repetition of words and  sentences, which lend an exciting edginess to this stylishly crafted cult movie. Interestingly, as the name suggests, Pulp Fiction is about nothing, but an interwoven tale of small-time gangsters and the pace of which  is driven by dialogues. What amuses me is the deliberate effort of Tarantino to befuddle his audience through the effortless rendition and casual attitude towards murder and violence {I could be wrong but this is my key take-out}. Every element seems to be leading to the other, and it took sometime for me to come out of the sense of wonderment that the beginning is the end is the beginning. Many situations that are familiar to an average viewer are strewn around and each situation leaves the viewer abruptly as he/she is almost getting cozy with it. The plot, unlike other movies, wholly, is non-linear and fragmented with separate narratives overlap over each other, almost like pieces of a jigsaw puzzle.  Gluttony, that inordinate desire to consume endlessly something that one likes and I don’t mind committing this sin of watching this cubicle of events, when Mia subjects reluctant Vincent to a battery of questions, which delineates her what kind of person she is going to have dinner with …”…there’s two kinds of people in this world, Elvis people and Beatles people.  Now Beatles people can like Elvis.  And Elvis people can like the Beatles.  But nobody likes them both equally. Somewhere you have to make a choice.  And that choice tells me who you are…” The restaurant JACKRABBIT SLIM’S – “Next best thing to a time machine” deceives one with its exterior of a quaint English pub.  The interiors are done up with the booths which are made out of the cut up bodies of 50s cars. The waiters and waitresses, the replicas of 50’s icons: Marilyn Monroe, James Dean, Donna Reed move around the dance floor servicing their patrons. The conversation between Mia and Vincent meanders through and reaches a point when he asks her about the pilot show she worked in. She says “It was about a team of female secret agents called Fox Force Five. Fox, as in we’re a bunch of foxy chicks. Force, as in we’ re a force to be recokned with….there was a blonde one, Sommerset had a photographic memory, the Japanese fox was a Kung fu master, the black girl was a demolition expert, the French fox’ specialty was sex…” and her specialty  – Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife…” Sounds familiar, isn’t it ? This is the initial brain-wave for Kill Bill series.

I like that part when Mia touches upon “Uncomfortable silences”, which most of us experience almost everyday. .. While we fill in those uncomfortable spaces with so much unnecessary and trivial stuff to feel comfortable, but with someone special we comfortably share silence. And now the classic dance sequence between Mia and Vincent, And that’s how I want my man to dance with me!! huh, any wondrous feet? Have you observed how Mia introduces her fellow to the audience ? so what type of person Vincent is?bed I love watching Uma {Mia} dance with Travolta {Vincent} time & again, the unexpressed joy and feel their love of the dance …. It’s endearing to replay the moment when a man’s mind and feet are being led by a woman’s playful heart, which is the ultimate sensorial experience! Mademoiselle covers the dance floor, with her fellow challenging her throughout…..what one can enjoy the most in this scene is the enthusiasm and the hip-swiveling rhythm both of them dance with, which comes out from nowhere. One more outstanding track in this movie is Urge Overkill’s version of Neil Diamond’s “Girl, You’ll Be A Woman Soon”, which is even better than the original.  la femme diabolique, elle allèche des hommes, la regarder comment elle fait des hommes pour danser à ses airs Pulp Fiction‘s pop culture references and filmic allusions — which, by turn, either enthrall or enrage critics — are much more than “a sheer cinematic spectacle, a fun-house experience of vibrant sights and sounds”…  Rather, Pulp Fiction taps into the storehouse of collective memory that is popular culture, and in so doing, illuminates the complex and contradictory relationship between movies and memory…. ” Breaking Time “Any time of the day is a good time for pie” — Fabienne.  More on this cult-rendition  

It is Tarantino’s strategy in all of his films to have the characters speak at the right angles to the action, or depart on flights of fancy, says Roger Ebert!

*green colored bodies of the content lead you to further links. I touched upon my favourite cubicle from this cult-movie here. 

Update: I observed the video is, no longer, available. It’s fine …we have one more visual delight for Chuck Berry’s “You can never tell” ..thank you YOUTUBE!

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