And then it cuts to another one of the movie’s intertwining tales.Ĭonsidered the first great boxing film, this film noir stars John Garfield as a character who is easily aligned with Butch ( Bruce Willis) in Pulp Fiction. Jackson) gun down Brett ( Frank Whaley), mainly because it also features flashes of light, less explicably. Fans compare it to the scene in Pulp Fiction where Vincent and Jules ( John Travolta and Samuel L. Most notably lifted, though, is an early scene in which two hitmen are seen gunning down a guy (the Lancaster role) and there are flashes of light, from their guns, and then the movie cuts to a flashback. Divide up Burt Lancaster’s breakthrough role in this film-noir classic and you’ve got a few characters in Pulp Fiction. This one has it all, a boxer mixed up with gangsters who is also into the boss’s wife (she was his first). That can’t have been the first time such a plan occurred, nor is it definite Tarantino intended for the connection, but regardless this is one of the most important movies ever made, so just let this be an excuse to watch it and appreciate its breakthroughs in film editing, just as we appreciate Pulp Fiction for its breakthroughs in story editing. They have the bright idea to take the wallets of all the customers in a diner they’re holding up, and the bandits in The Great Train Robbery do the same thing with the passengers of the train they’re robbing. Porter short as a link to the robbery plans of “Pumpkin” and “Honey Bunny” ( Tim Roth and Amanda Plummer). The Great Train Robbery (1903)Įvery list of movies connected to Pulp Fiction name this landmark Edwin S. In lieu of him doing so, here are my picks. In fact, he’d probably come up with a bunch. He’d probably come up with a different list of the most important movies to see after and in relation to Pulp Fiction. Not everything included below is something the filmmaker has admitted to loving and being influenced by, but we can presume they’re all things he’s seen. Additionally, some of this week’s curation of movies to see are otherwise relevant, titles that might not have inspired Tarantino unless he cast certain people because of work they’d done in the past – which, for him, is not only plausible but also very likely. You can find homages in the plot, dialogue, character names, props, cinematography and more.īecause there are so many movies referenced in Pulp Fiction, and because you can find many places online that attempt to list them all, I’m going to recommend just the most prominent and also the most essential of the bunch. Tarantino is the uber movie geek, and he shows it over and over again in his own work, and this collaboration with co-writer Roger Avary might take the cake as far as how many allusions he can fit in, whether they’re spoken references or shots that perfectly mimic and repurpose those of his favorite classic films. The 1994 feature, which was released theatrically 20 years ago this month, is like the Paul’s Boutique of film given all the cinematic samples it’s comprised of. Quentin Tarantino’s Pulp Fiction is one of the most influential movies ever made, which is interesting given that it’s also one of the most influenced movies ever made. This entry highlights the movies that influenced or otherwise came before and are like Quentin Tarantino’s Pulp Fiction. Learn some film history, become a more well-rounded viewer, and enjoy like-minded works of the past. Very entertaining, none the less.Welcome to Movie DNA, a column that recognizes the direct and indirect cinematic roots of both new and classic movies. What writer/director Tarantino lacks, as yet, is the maturity to invest his work with anything that might provoke a heartfelt emotional response to his characters. And there are, too, the sudden lurches between humour and violence - shocking, but without moral depth. There's plenty of sharp, sassy, profane dialogue, and there are plenty of acute, funny references to pop culture, though the talk sometimes delays the action, and the references sometimes seem self-consciously arch. It's the way Tarantino embellishes and, finally, interlinks these old chestnuts that makes the film alternately exhilarating and frustrating. And in the third, two hitmen (Travolta and Jackson) carry out a job, only to call on the services of a 'cleaner' (Keitel) when it gets messier than planned. In the second, a washed-up boxer (Willis) tries to trick the Mob by failing to throw a fight. In the first story, a mobster (Travolta) is charged with looking after the irresponsible wife (Thurman) of his vengeful boss. A sprawling, discursive fresco: three stories bookended by a prologue and epilogue.
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