ANALYSIS OF THREE SEQUENCES FROM PULP FICTION (1994):
Quentin Tarantino has emerged as a notable American director of the 1990’s. Tarantino has just 6 films to his credit as a director till date, and through the 6 films he has developed novel narrative ways to keep the audience glued to the screen. The art of narrating a story by involving the audiences with the pleasures they enjoy most is an art that Tarantino has mastered over the years. Dana Polan (2000:9) refers to Tarantino as ‘clearly a director of important transitional life-moments for many fans’. Breaking away from the traditional forms of narrative is not easy and Valerie Orpen (2003: 16) notes that ‘the narrative structure relies chiefly on enigma and resolution, a cause and effect relationship. The Narrative must be propelled, there should be no flagging in the tempo and no digression’. Tarantino in his films defined narrative in ways that don’t match the text book definitions and yet produced compelling and entertaining work.
Quentin Tarantino has been tremendously influenced by the likes of French New wave director Jean-Luc Godard. Quentin Tarantino is a member of the production company “A BAND APART’’; (Wikipedia: 2008) a play on Bande à part ("Band of Outsiders") by filmmaker Jean-Luc Godard.
Quentin Tarantino’s film audiences have turned into Tarantino fanatics by dedicating time and energy into the glorification of his films on the internet with quotations, film trivia, downloads, replicas, links and so on. The special fan following grew after the release of Reservoir Dogs (1992) and Pulp Fiction (1994) which gave the audience a gangster film genre in a new narrative package. It’s not the violence, but the course of actions that lead to it that make Tarantino’s films a new genre among gangster films. Fran Mason (2002: 161) notes that;
With Pulp Fiction (Quentin Tarantino, 1994) it can be argued that the codes of gangster genre have become so diffused that it is not possible to talk of it as a distinct genre anymore with the film articulating the semiotic codes of gangster genre to map identity or lifestyle as a form of cultural expression as opposed to using them to explore the psychology of the gangster and the social reality he inhabits.
Pulp Fiction (1994):
Dana Polan (2000: 7) refers to Pulp Fiction (1994) as ‘…not so much a film as a phenomenon’. The three sequences analysed here are key events that might have influenced the outcome of the story. The sequences have very colourful characters, power play shifts and great sense of style. The sequences are part of a post modern, non-linear narrative structure that is Pulp Fiction (1994) and as a part of the modern gangster genre Fran Mason (2002:161) notes that ‘The film enacts a society where the semiotic codes of the gangster do not just exist on screen, but have become the norms of everyday behaviour so that the gangster is no longer aberrant, but typical’.
Sequence I
(Marsellus, Butch, Maynard, Zed and the Gimp in the basement of the Pawn shop):
Marsellus and Butch are both vulnerable in this sequence with pride, ego and fear of death surrounding their vision. Marsellus has his pride broken as Zed rapes him in the basement of the pawn shop. The sequence has the two very powerful characters fighting not only amongst themselves but an uninvited external force.
Butch Coolidge and Marsellus Wallace’s sequence is of particular importance as it forms the penultimate
scene in the linear order of sequences in the film. Although in the linear format of sequences, Marsellus
Wallace’s face is made visible to the audience in the ‘Bonnie Situation’, it’s for the first time in the
narrative structure of the film that we see Marsellus Wallace’s face and his full body. The narrative
structure deployed in the film has been referred to by Dana Polan (2000: 27) as ‘shifts in temporality
complement shifts in tone that can challenge complacent viewing. The narrative of the film endlessly
veers off in unexpected directions’. The sequence of events involving Marsellus and Butch has a very clear beginning, middle and an end in
itself, making it a shorter story within the frame of the film. The characters of Butch and Marsellus are
at opposite ends battling each other throughout the chase but are quickly positioned on the same sides
as Maynard and Zed take control of the two blood thirsty visitors. The interesting point to be noted is that the balance of power changes ever so often in this sequence. Characterised by two blackouts; one after the crash and another at ‘MASON-DIXIE PAWNSHOP’, are used as transitional effects to translate direct shift in power and control. The two blackouts are that of Marsellus Wallace making him the primary character of change as he undergoes a round trip until he regains power within the context of the sequence.
The name ‘MASON DIXIE PAWNSHOP’ itself is a reference to the Mason Dixie Line from the cultural history
of U.S.A (Wikipedia:2008) ‘The Mason-Dixon line became symbolic of the division between the "free states"
and "slave states" from the Missouri Compromise until the end of the American Civil War’. The ‘Mason Dixie
Pawnshop’ in the film is quite literally a line that separates the free world to an enslaved world for Marsellus
and Butch. Apart from the name of the shop being a direct reference to a line of enslavement and freedom,
it is also a character description of Zed and Maynard two red necks still in the bygone mind state of slavery. The dialogue (Pulp Fiction: 1994) ‘you feel that sting Big Guy, that’s pride fucking with you…’ is a an exact
word to word repeat of what Marsellus Wallace tells Butch before the fixed boxing match in the pub. The low
angle shot of Butch shows him in power this time around. The balance of power has tipped over and now
Butch is at a higher level of power as he delivers this dialogue. Shift in the balance of power comes to play again. Maynard is at a higher angle when he has his gun pointed at Butch. Camera Angles have been used quite effectively to signify power, low angle shot of Butch and a low angle shot of Maynard almost directly show the shift in power. Maynard takes control from Butch and from there on, Zed takes control over from Maynard. On freeing himself, Butch with the Japanese Sword is in a position of power which he then transfers to Marsellus.
The last unspoken bit of communication between Marsellus and Butch is a raise of hand as he gestures to Butch without looking back. Marsellus Wallace’s face is always kept in the dark and revealed only two times, keeping with this and the fact that Marsellus was seen by Butch on the road accidentally is only keeping with character that Marsellus does not show his face. Marsellus raising his hand and not turning around at the end of the sequence is of great significance as Marsellus has been through a circle of power play and immediately assuming greater power over Butch gets back into his natural form. The actual bit of unspoken communication that is seen in the film was an improvisation over the screenplay where Marsellus hugs Butch to show his gratitude. But the same has been eliminated to maintain a polarised state with one source of power throughout the scene. Sharon Willis (1997: 199) refers to Marsellus Wallace as a ‘…disembodied figure who is most powerful in his absence, as, for instance, a voice on the phone, and as a spectacular body…’ just as depicted in the film where he is most vulnerable when seen in full and his power radiates when seen partially during the course of the film.
The shot involving Maynard bringing the Gimp out has Butch and Marsellus tied up in the foreground while Maynard can be seen bringing out the Gimp in the background. The unseen background builds tension and fear in the eyes of Marsellus and Butch. The pace of events involving Marsellus being taken into ‘Russell’s Old Room’ is slowed down to exaggerate the horror in Marsellus eyes and to show the pleasure in Maynard and Zed’s faces.
Sound in the form of music is diegetic only in the first part of the sequence when Butch plays – ‘Flowers on the wall by Statler Brothers’ in the cassette player of his White Honda Car. Non diegetic music is used in the later part of the sequence as a build up to the rape scene and continues to play during the course of Butch choosing a weapon and returning to rescue Marsellus.
The Gimp’s sadistic yet muffled laugh from the inside of his leather bondage suit, Zed picking his first
target by playing ‘Eenie, meany, miney, moe...’, the sound of pleasure and agony heard as Butch looks
around the pawn shop for a weapon are bits of sound in the sequence that are considerably heightened
to amplify the tension within the sequence. Detailed and amplified sound of the Gimp being bought out of the cage while Marsellus and Butch are tied to the chair creates suspense and tension of what is to come. And during the rape sequence, the sound of Marsellus yelling in agony and Zed and Maynard expressing pleasure is heard through the closed doors of the room as Butch approaches it. The voices heard from the inside of the room are very distinctive and clear enough to construct an image of the happenings inside of the room.
In terms of design, the basement of ‘Mason Dixie Pawnshop’ looks like a place set for sexual adventures. Metal objects, cages, bondage belts, leaches, wooden horsebacks make the basement of the pawnshop a fully set up S&M workstation. The Pawnshop is stacked with old television sets, video recorders but at the same time items there are sledge hammers, Japanese swords, chainsaw and baseball bats strewn around that can be used to cause harm.
(Captain Koon’s Story):
Chronologically it is with Captain Koon’s story to young Butch that Pulp Fiction (1994) has its start with. But since the scene of Captain Koon narrating the story of the gold watch plays in Butch’s mind, the scene cannot be considered as the first in linear narrative of the story.
The year is 1972 and Butch Coolidge is much younger and living with his mother. A voice over breaks the visuals to a long shot of his mother walking into frame with a man dressed in military uniform. The sequence is of great importance as his recollection of the watch story reminds him of the hardships that his ancestors had to go through to pass on a watch. The watch is not important to Butch as a materialistic item but more as a symbol of a never give up spirit that runs within the Coolidge family. Sharon Willis (1997: 202) refers to the gold watch as a gift that ‘…is a source of obsessive fascination…’
In a film full of dialogues, the sequence of Captain Koon is a very noticeable change as it forms a very long monologue. The tight framing and focus on Captain Koon’s rendition of the story shows the importance of the story in Butch’s mind. Also the off focus mother amplifies the concentration Butch has given to this narration by Captain Koon as it replays frequently in his mind. Close frames, extreme close up on the watch in Captain Koon’s hand, off focus mother, absence of ambient sound; gives a Butch’s POV into the story narration. The POV shots also break the rule of editing where the character looks straight into the camera, i.e. the audience while narrating the story. Dana Polan (2000: 31) reasons Butch’s point of view shots have a purpose ‘…so that we discover many elements of the story along with him’. Also it’s only the character of Butch Coolidge who has a linear structure to his story throughout the film like having a purpose towards the audience.
The entire scene takes place in the living room of a 1970’s Late Major Coolidge’s house. The scene is very different form the rest of the film as there is no music and very little ambient noise. The focus is on Captain Koon’s narration of the events and the sound is as heard by young Butch, who cannot hear anything else. Butch wakes up in his dressing room, sweating in horror, and can be compared to a grown up baby or an infantile man similar to his condition as a child during the narration of the Watch story. Butch is alone in a training room in his boxing attire, but the sound of crowd cheering and most importantly the sound of the bell ringing signals that Butch is ready for a fight in a boxing arena, without having to depict it.
Butch’s relationships are most highlighted among other characters in the film. Butch has most of his relations spoken about in the film like his great grand father, grandfather, father, mother and girlfriend that gives the character of Butch great depth and detail unlike the other characters of Pulp Fiction (1994). Dana Polan (2000: 30, 31) refers to Butch Coolidge as ‘Easily one of the most sympathetic figures in the film, Butch becomes a relay for the audience’s viewing’.
The two part sequence has not a single word uttered by Butch. Butch makes huffing and panting noises during the second part of the sequence but the entire sequence goes by without Butch having to utter a word. The two parts and the difference between the two parts makes the sequence all the more important with reference to Butch’s character and within the context of the film. Butch hails from a well to do family and that is evident from the living room conditions. A television set, a sofa set, paintings on the wall, well lit with natural lighting (possibility of a porch or a garden), carpeted floors and flower vases on tables depict a well to do family. Earthly colours and wooden furniture along with a television set depicts a 1970’s home. Serene and quiet ambience gives a feel of a well established neighbourhood. The scene then transforms drastically to a small room with a bulb as the solitary source of light, in a small dingy room, with a table fan, a bench and wooden walls. The boxing ring ambient noise is overpowering and the ring of the bell as he wakes up is a direct transition from his young world to the world he is living in right now. The quiet neighbourhood has changed to a noisy boxing ring, sofa sets to wooden benches, warm sunlight to one source bulb. The design transformation also corresponds to the change in the condition in Butch’s life.
(The Bonnie Situation)
The Bonnie Situation arises due to Vincent Vega accidentally shooting Marvin in the face and smothering the car with blood in the process. Jimmie – Jules friend is the only resort for the two. Dana Polan (2000: 41) says ‘all the professionals of Pulp Fiction (1994) find their control over the world giving way to chaos’. The chaos right in the middle of the city quite early in the morning leads to the Bonnie Situation.
Vincent and Jules are partners/team members. Jules and Vincent make the journey of power shift together as they get into this messy situation. Quentin Tarantino playing Jimmie appears to be an unemployed man living in a big house in the valley. Jimmie being unemployed is further clarified when he says he is the one who buys the coffee. Bonnie works in the hospital as a nurse and Bonnie as a character is present only in dialogues and never physically present in the film. Sharon Willis (1997: 207) refers to the character of Bonnie as ‘…the ultimate judge of men’s housekeeping operation…’ The audience at this interjection has the special privilege of understanding the volcanic nature of Bonnie through Jules’s reconstruction of the events to Marsellus.
The character of Mr.Wolf as a specialist has been bought out clearly through the Bonnie Situation. Dressed in suit, Mr. Wolf is always in control of the situation. Mr. Wolf introduces himself to Jimmie by saying ‘I solve problems’ (Pulp Fiction: 1994). Mr. Wolf is quite obviously Marsellus right hand man at fixing problems.
The Bonnie situation has two references to Marsellus wealth. First when Jules talks to Marsellus over the phone, it’s pretty evident that Marsellus is living the life with a pool side chair and a big mansion in the background. Mr. Wolf makes the second reference to Marsellus wealth when he douses Jimmies concern about bed linens by calling Marsellus a millionaire.
The telephone has been used as a medium to connect in this situation. Jules calls Jimmie to open up the garage. Jules calls Marsellus to fix the situation. Marsellus calls Mr. Wolf to handle the Bonnie Situation and Mr. Wolf calls Monster Joe to dispose off the car. The frequent calls and connect serves two purposes; a) Establishes the grave nature of the Bonnie Situation, and the need to fix things up, b) The involvement of the right kind of people by showing Marselllus’s connections and contacts.
Sound in the Bonnie Situation sequence is diegetic and takes its source from within the frame. Background sound in Mr. Wolf’s hotel suite has ambient noise of a gathering of elderly people chatting and laughing with classical music playing in the background.
The Bonnie Situation has two different settings intertwined in it. Jimmie’s house is a well polished working class house in the valley with a garage and garden. Jimmie’s house is not extravagant, but at the same time appears to be crafted well. There are several references to a well-to-do lifestyle at Jimmie’s place, i.e: gourmet coffee, well stacked garage and expensive linens. Marsellus on the other hand lives in a mansion with his wife. Marsellus house has the luxury of a pool, pool side table and a cordless telephone.
In Pulp Fiction (1994) due to the non-linear narrative structure of the film there are several jumps in time and space. ‘The Bonnie Situation’ plays host to Vincent Vega who is dead in the non linear format of the film. It’s not till the entire film is seen that one can place things in order and start to form get a clearer idea of Vincent’s character. Vincent Vega is shot by Butch in Butch’s apartment, but Vincent Vega continues to live as a character during the Bonnie sequence. The future of Vincent Vega as a character in the film is revealed to the audience who now see him in flesh and blood but have the exclusive right to information about his death in his near future.
Pulp fiction, however, does not just locate itself with the gangster genre, but enunciates references from a range of texts and popular cultural artefacts, suggesting that the film utilises the gangster as a symptom of the collapse of screen and commodity into culture.
Quentin Tarantino is a remarkable director who weaves his stories into complex yet certain identifiable stories that makes the audience want more of the film. The subtext, dedications and depth of dialogues makes Tarantino’s films a great watch and great material to analyse and appreciate. The understanding of Tarantino’s films greatly increase with subsequent viewings and the process of breaking the story up into smaller texts makes the entire film easy to recall as well.
Books:
Mason, F. (2002) American Gangster Cinema; From Little Caesar to Pulp Fiction, Hampshire &
Willis, S. (1997) Race And Gender In Contemporary
Polan, D. (2000) Pulp Fiction,
Websites:
Pulp Fiction Screenplay:
http://www.godamongdirectors.com/scripts/pulp.shtml, (
A Band Apart
http://en.wikipedia.org/wiki/A_Band_Apart, (
Mason Dixon Line:
http://en.wikipedia.org/wiki/Mason-Dixon_line (
Videos:
Pulp Fiction (1994) 2 Disc Collectors Edition
Miramax Films
Buena Vista Home Entertainment
