'Pulp Fiction' delivers violence with substance

Pulp Fiction, ****

This film more than meets the media hype surrounding its United States release. Quentin Tarantino adds a fine nitch to his directorial belt with this exciting romp through the L.A. underworld.

Pulp Fiction is one of those rare movies that has substance to back up its flash. As John Travolta's character meta-fictionally describes one scene, "It's like a wax museum with a pulse." Packaged in the glitter of pulp gangster noire, the dialogue is thick with commentary on American culture, and even the most "insignificant" dialogue is educational. The audience learns everything from what cheeseburgers are called in France to how a TV pilot works.

A lot is said about Tarantino's sense of plot and direction, but few critics mention his cinematography. Each major shot is carefully composed for maximum visual impact. In Bruce Willis's first scene as Butch Coolidge, a boxer on the take, the camera lingers on his concerned face as gangster boss Marcellus Wallace (Ving Rhames) instructs him to throw a fight. Then the camera steps back to reveal Marcellus' head. The echo of shapes between the two big, round, bald heads establishes a simple yet elegantly composed shot. The dialogue taking place is tense, building suggestion that Butch might not follow Marcellus' orders. The visual image subtly reinforces the dialogue, with Marcellus looming larger than life over Butch.

Throughout the film, Tarantino's choice of camera shots allows the focus of each scene to rest on the dialogue. Whether in close-up dinner conversation of medium-long shots from down a hallway, the acting is the most important element of each scene.

Much ado has been made about John Travolta's portrayal of mafia hit man Vincent Vega, and he certainly does a brilliant job. He pulls off a very realistic heroin-induced haze, which is particularly effective against Uma Thurman's portrayal of cocaine-fueled Mia Wallace. But Travolta's performance is only one among many that call for accolades.

Samuel Jackson turns in one of the most impressive performances of the film, and possibly of the year. He commands the screen as Jules, Vincent's partner. Jules' philosophical outlook on being an assassin frames the film's violence with an air of introspection. His character also adds to the meta-fictional quality of the script, commenting on Tarantino's trademark "Mexican standoff" scene.

Also high on the list of potential Oscar nominations is Willis, who shines as Butch. Instead of throwing his fight, he bets heavily on himself and wins. The chase is on.

Willis finally has a tough-guy role perfectly suited to his style of action-acting and sense of comic timing. Also, while the film looks at gangster life without making heavy moral statements, Butch stands out as the film's most "redeeming" character, willing to risk his life for that which is important to him.

Even the most incidental roles are played to their fullest. Rosanna Arquette has a small role as Jody, a drug dealer's Modern Primitive wife. She is introduced bragging about her body piercings, and her fascination adds humorous depth to later scenes. Director Tarantino pops up in the film when least expected, offering an odd juxtaposition to the hardcore Mafiosos played by Travolta and Jackson.

In one of the film's most startling performances, Christopher Walken plays a Vietnam P.O.W. pal of Butch's father. His brief but intense appearance is reminiscent of his role in the Tarantino-penned True Romance. He seems to be Tarantino's favorite for walking into a scene, stealing it, and disappearing from the film.