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Pulp Fiction: Mia Wallace
One of the most striking visual images of Pulp Fiction is Mrs. Mia Wallace, Marcellus Wallace's wife. She is first shown putting on her vampire-red lipstick as she gazes at Vince Vega, who has been asked by Marcellus to 'entertain' her for a night. Everyone knows that Marcellus is a terrifying man, so Vince clearly has every interest in protecting Mia's 'honor.' Yet Mia is making herself up, much as a woman who is about to go on a date. But after seeing Mia's lips first, and expecting a bombshell, the viewer is somewhat surprised to see that Mia's clothing and appearance is extremely stark, almost Spartan, other than her lipstick. The garishness of Mia's rather strange outfit looks more at home in the diner -- as Mia looks like a 1920s flapper, she blends right in, unlike Vince who looks slightly awkward in his cowboy boots and black suit. Mia hunches over her burger, further making her seem androgynous, even while she is clearly flirting with Vince, enticing him with stories of her failed career as an actress and teasing him about his relationship with Marcellus. Then, Mia goes into the bathroom. Suddenly, in the bathroom, her more feminine aspects are thrown into stark relief as her breasts are evident in the mirror as she heaves and inhales cocaine.
Mia boasts a Louise Brooks-style black bob that is obviously a wig. For a glamorous failed actress, her outfit seems almost mannish. She wears a stiff white starched shirt that looks like it was purchased from the Gap and plain black pants that are slightly too short and expose her long, bony ankles. She looks like she is dressed in boy's clothing, other than her face. Even her black coat is fairly nondescript and does not cling to her form. The only evidence of sexuality is her black brassiere, which is vaguely visible through the white shirt.
Vince takes Mia to a diner which is filled with impersonators of famous Hollywood celebrities of long ago, like Marilyn...
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Mia goads Vince into entering a twist contest. The camera focuses on the couple alone. Vince looks slightly pudgy next to Mia, who moves with sexual, sinewy confidence but both of their movements blend effortlessly into the music. The film briefly seems to turn into a musical as the couple dances, gradually growing more and more confident as they relate to one another as dancers. Many of their movements seem like parodies of old-style doo-wop as Mia and Vince draw their fingers across their eyes as if swimming and 'dive down' with their noses pinched. However, despite the slightly 'corny' moves on the dance floor, the intense connection between the characters suggests a mutual attraction. Much like in traditional Hollywood musicals, the 'dance' is used to advance the relationship. There is no plot significance to…
Work Cited
Pulp Fiction. Directed by Quentin Tarrintino, 1994.
By doing this, the film puts across feelings related to irony and sarcasm, as it apparently wants to ridicule a society that never seizes to amaze. It is as if the film is meant to be surprising by showing apparently improbable occurrences that are actually very likely to happen in real life. 2. The film does not follow Freytag's Pyramid and the only way for it to follow it was
Pulp Fiction, by director Quentin Tarantino, is a prime example of a film that utilizes a multiple narrative structure. The film has three narrative stories that are signaled by inserted captions, and told in "episodes" that are shown non-chronologically. Specifically, the three narratives are called "Vincent Vega and Marsellus Wallace's Wife," a story of a man watching over his boss's wife and cannot touch her, "The Gold Watch," the story
The use of this shot can be seen in the sequence where Marsellus gets run over by Butch and later when Butch is beating up one of the pawn shop owners. Tarantino is also known to use a long shot in his films. The use of a long shot can be seen shortly after the film's introduction as Vince and Jules discuss the differences between the United States and
Vincent Vega From Pulp Fiction In Quentin Tarantino's classic film Pulp Fiction many of the characters seem to be stock "types" with which one might be familiar from other movies or forms of fiction. Therefore, the appearance of one of them needs no introduction in the movie, but they are also expected to be somewhat one-dimensional characters that experience very little growth or development during the progression of the film. When
Violence in Pulp Fiction When the movie Bonnie and Clyde opened in 1967, Newsweek reviewer Joseph Morgenstern slammed the move as a "squalid shoot-em-up for the moron trade." (Goldstein) But a week later retracted his previous bad review and praised the movie. It was the violence that originally shocked the movie reviewer, but within a week, the shock of the rampant violence had worn off. Once this had happened, Mr.
On the contrary, Jules initially seems far colder and less redeemable than Vincent. The best example of this is when Jules recites a verse from the Bible, "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 good will, shepherds the weak through the valley of