Pulp Fiction and Performance
Questions in the exam could focus specifically on the ways in which performance creates meaning for audiences BUT a number of other types of questions may require you to make reference to performance (or even casting) - even if the term is not in the title. Answers to questions on representation or aesthetics may include discussion of elements of performance and you should mention performance in essays about the critical debates studied for experimental film - narrative and auteur (choices regarding performance can be related to Tarantino's auteur signature and his postmodern approach but are also read differently by audiences as a result of the way that Tarantino manipulates narrative structure). It is very likely that any question on performance will ask you discuss the ways that performance can be considered 'experimental', so you must be able to discuss what is different or unusual about performance in Pulp Fiction, discussing the ways that it differs from the mainstream.
To refresh your memory about the key terms for performance, click on the links below.
Remember, questions on performance will require you to discuss, in detail, certain scenes from Pulp Fiction - so make sure you have at least two scenes that you can recall in detail. In reality (time permitting) it would be a good idea to also mention at least one other scene; remember, that you are writing a Film Studies essay and, therefore, examiners will expect you to support your points at all times with discussion of examples from the film.
Opening and closing scenes are always useful to know in detail - though remember that this is slightly complicated by the fact that much of Pulp Fiction is told out of chronological order (so, you may consider Captain Coons' Gold Watch monologue to be the opening moment of the story, whilst the diner scene with Honey Bunny and Pumpkin is the opening scene as presented in the plot). Try, also, to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in Pulp Fiction.
There are a number of points you could make about performance in Pulp Fiction, most of which can be linked to the film's 'experimental' identity.
Casting is the foundation to any performance and can create very specific expectations for the audience based on an actor's previous roles and performances. As a result of the critical success of Tarantino's first film Reservoir Dogs many prominent actors, well known for their performances in mainstream Hollywood movies were keen to work with the director on future projects (something that is unusual for low-budget, Independent films). Tarantino clearly wrote some of the roles in Pulp Fiction with specific actors in mind; some he had worked with before on Reservoir Dogs such as Harvey Keitel (who plays Mr Wolf) and Tim Roth (who plays Pumpkin/Ringo) - working with the same personnel repeatedly, both actors and crew, can help contribute a director's auteur status (Tarantino has worked with Tim Roth, Harvey Keitel, Steve Buscemi, Samuel L Jackson and Uma Thurman on a number of his movies) - and others he was keen to work with based on their performances in other movies, such as John Travolta (who plays Vincent Vega). The casting of Travolta, playing against type as a ruthless gangster, is perhaps the most 'experimental' casting choice, particularly as his career had been on the wane for a number of years before the release of Pulp Fiction. Best known for his roles in Grease and Saturday Night Fever, Travolta seemed a leftfield, unexpected choice to play the heroin-shooting hitman, a role which played against type and cheated audience's expectations. The role of Vincent arguably resurrected his career and led to numerous roles where Travolta played the villain or more violent, action roles than he had previously been associated with (in films such as Get Shorty, Broken Arrow, Face/Off, Swordfish and The Taking of Pelham 123). Another mainstream actor who plays against type in Pulp Fiction is Bruce Willis, a performer best known for action roles in Die Hard, The Last Boy Scout and Striking Distance or romantic roles in Blind Date and the TV series Moonlighting. Here, he plays an every-man stooge, a hard-working, journeyman boxer sucked into a world of crime he doesn't belong in. Again, the character he plays and his performance undermines audience expectation, creating surprise and pleasure for the spectator. Willis was arguably the highest profile actor to sign on for the film and despite a series of recent big-budget flops he was still incredibly popular overseas (particularly in the Asian market). On the strength of Willis' name alone Miramax were able to secure $11 million for the film's worldwide rights, ensuring the movie's profitability.
Remember, questions on performance will require you to discuss, in detail, certain scenes from Pulp Fiction - so make sure you have at least two scenes that you can recall in detail. In reality (time permitting) it would be a good idea to also mention at least one other scene; remember, that you are writing a Film Studies essay and, therefore, examiners will expect you to support your points at all times with discussion of examples from the film.
Opening and closing scenes are always useful to know in detail - though remember that this is slightly complicated by the fact that much of Pulp Fiction is told out of chronological order (so, you may consider Captain Coons' Gold Watch monologue to be the opening moment of the story, whilst the diner scene with Honey Bunny and Pumpkin is the opening scene as presented in the plot). Try, also, to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in Pulp Fiction.
There are a number of points you could make about performance in Pulp Fiction, most of which can be linked to the film's 'experimental' identity.
- casting
- the intertextual nature of some of the performances
- changes in performance style across the film
- non-verbal communication such as figure behaviour/body language and facial expressions
- performance and dialogue (verbal communication)
Casting is the foundation to any performance and can create very specific expectations for the audience based on an actor's previous roles and performances. As a result of the critical success of Tarantino's first film Reservoir Dogs many prominent actors, well known for their performances in mainstream Hollywood movies were keen to work with the director on future projects (something that is unusual for low-budget, Independent films). Tarantino clearly wrote some of the roles in Pulp Fiction with specific actors in mind; some he had worked with before on Reservoir Dogs such as Harvey Keitel (who plays Mr Wolf) and Tim Roth (who plays Pumpkin/Ringo) - working with the same personnel repeatedly, both actors and crew, can help contribute a director's auteur status (Tarantino has worked with Tim Roth, Harvey Keitel, Steve Buscemi, Samuel L Jackson and Uma Thurman on a number of his movies) - and others he was keen to work with based on their performances in other movies, such as John Travolta (who plays Vincent Vega). The casting of Travolta, playing against type as a ruthless gangster, is perhaps the most 'experimental' casting choice, particularly as his career had been on the wane for a number of years before the release of Pulp Fiction. Best known for his roles in Grease and Saturday Night Fever, Travolta seemed a leftfield, unexpected choice to play the heroin-shooting hitman, a role which played against type and cheated audience's expectations. The role of Vincent arguably resurrected his career and led to numerous roles where Travolta played the villain or more violent, action roles than he had previously been associated with (in films such as Get Shorty, Broken Arrow, Face/Off, Swordfish and The Taking of Pelham 123). Another mainstream actor who plays against type in Pulp Fiction is Bruce Willis, a performer best known for action roles in Die Hard, The Last Boy Scout and Striking Distance or romantic roles in Blind Date and the TV series Moonlighting. Here, he plays an every-man stooge, a hard-working, journeyman boxer sucked into a world of crime he doesn't belong in. Again, the character he plays and his performance undermines audience expectation, creating surprise and pleasure for the spectator. Willis was arguably the highest profile actor to sign on for the film and despite a series of recent big-budget flops he was still incredibly popular overseas (particularly in the Asian market). On the strength of Willis' name alone Miramax were able to secure $11 million for the film's worldwide rights, ensuring the movie's profitability.
One aspect of performance that can be considered 'experimental' (and also part of Tarantino's auteur signature) is through intertextuality (a defining aspect of postmodernism); the ways in which certain moments in the performance reference either performances from other actors in well-known films or performances by the same actor in previous roles. Perhaps the best example of this intertextuality can be found in the dance scene in Jack Rabbit Slims, where Mia and Vincent win the dance contest by performing the twist. Travolta was arguably best known for his roles as Danny Zuko in the musical Grease and Tony Manero in the musical dramas Saturday Night Fever and Staying Alive, all films that foregrounded Travolta's dancing. The dance scene in Pulp Fiction creates pleasure for the audience by directly referencing these previous films, creating a sense of nostalgia and harking back to the previous heights of Travolta's career. This intertextuality, which references previous roles played by the actor, occurs frequently throughout Pulp Fiction. Other good examples to mention are the scene featuring Christopher Walken as former POW Captain Coons when he presents the gold watch to a young Butch (the beginning of the story, once the narrative events have been placed back in chronological order). Coons' monologue reveals that he has spent time in a Vietnamese prisoner of war camp, immediately referencing the film The Deer Hunter in which a younger Walken also played a prisoner of war suffering atrocities during the Vietnam War. Again, the intertextuality creates nostalgia for the audience and is a good example of both postmodernism and a specific aspect of Tarantino's auteur signature (intertextual referencing and paying homage to classic or cult movies). Harvey Keitel, who plays Mr Wolf, is an almost identical character to the 'cleaner' he plays in The Assassin and whilst Bruce Willis, as Butch, and Uma Thurman, as Mia, are not referencing previous characters those actors have played, their performances pay homage to previous films (Willis' performance references numerous boxing movies featuring characters who are forced to take a dive by a powerful mob boss. such as On The Waterfront, whilst Thurman's performance, dance moves and even her hairstyle, alludes to a number of films and actors from early sound cinema and classical Hollywood such as Pandora's Box, His Girl Friday and Mad Love). This, at least in part, suggests a high degree of control over the actors by Tarantino himself; showing the level of control that is necessary to be considered an auteur.
When considering both verbal and non-verbal communication, it is worth considering changes in performance (both figure behaviour and the tone and pace of the way characters speak). Noticeable changes in performance happen frequently in Pulp Fiction as the audience witness the narrative arcs of many of the characters. For some characters, this change in performance is quite noticeable (particularly when their scenes appear consecutively in the film, but for others this is less immediately obvious because of the way that Tarantino manipulates narrative structure by placing many of the story events out of chronological order in the plot. The first time the audience are introduced to Bruce Willis' character, Butch, Willis' figure behaviour and facial expressions (non-verbal communication) are very passive, with minimal movement and a deadpan expression. His passivity connotes to the spectator that he is perhaps weak, brow-beaten and unable to control the events around him. His body language presents him as accepting of his fate and inferior to the powerful gangster Marcellus Wallace. This is supported by his verbal communication; he rarely speaks throughout the scene and when he does his voice is monotone, passive and accepting, suggesting that he does not have the power to stand up to Marcellus. This creates very specific expectations for the audience about what will happen later in the narrative; he will accept his fate and throw the fight. By creating these expectations through performance Willis, and Tarantino, are able to surprise the audience later by cheating these expectations when Willis goes against these orders and knocks out and kills Floyd (his opponent) in the first round of the fight (though his facial expression when Vincent calls him out as a coward at the bar at the end of the scene in Sally LeRoys, hints to the audience that he may well refuse Marcellus' orders). The passivity of his performance continues in the taxi scene, with a very muted response to finding out that he has killed his opponent but his performance style changes completely once he finds out Fabienne has forgotten to collect his prized gold watch. The verbal (the tone of his voice) and the non-verbal (body language, figure behaviour) elements of his performance dramatically switch from being very reserved to violent and histrionic as he smashes the TV in the motel leaving Fabienne cowering in the corner. This more active, dynamic performance style is continued when he rescues Marcellus in the rape scene.
This change in performance happens in reverse with Jules (played by Samuel L Jackson) and is perhaps best exemplified by looking at the delivery of his two speeches from the Bible (Ezekiel 25:17). When Jules first delivers this speech as he kills Brett in the aprtment as Jules and Vincent collect Marcellus' briefcase both Jackson's verbal (the volume and tone of the delivery of the dialogue) and non-verbal communication (his contorted facial expressions) are violent and exaggerated, suggesting that he is dangerous and uncompromising (a representation that is emphasised through Tarantino's use of low angle shots to show Jules' power and threat). The second time that Jules delivers the speech in the diner when Ringo/Pumpkin tries to rob him emphasises a totally different performance style in terms of his verbal delivery and his body language. Here, Jules' tone of voice is calmer, much more measured and reserved suggesting that he has changed as a character and no longer believes in the violent life he has been living. His body language is similarly measured and far more passive than the scene earlier in the apartment reflecting the character's narrative arc and the journey he has been on. Again, by changing performance style Jackson, and Tarantino, cheat audience expectation.
When considering both verbal and non-verbal communication, it is worth considering changes in performance (both figure behaviour and the tone and pace of the way characters speak). Noticeable changes in performance happen frequently in Pulp Fiction as the audience witness the narrative arcs of many of the characters. For some characters, this change in performance is quite noticeable (particularly when their scenes appear consecutively in the film, but for others this is less immediately obvious because of the way that Tarantino manipulates narrative structure by placing many of the story events out of chronological order in the plot. The first time the audience are introduced to Bruce Willis' character, Butch, Willis' figure behaviour and facial expressions (non-verbal communication) are very passive, with minimal movement and a deadpan expression. His passivity connotes to the spectator that he is perhaps weak, brow-beaten and unable to control the events around him. His body language presents him as accepting of his fate and inferior to the powerful gangster Marcellus Wallace. This is supported by his verbal communication; he rarely speaks throughout the scene and when he does his voice is monotone, passive and accepting, suggesting that he does not have the power to stand up to Marcellus. This creates very specific expectations for the audience about what will happen later in the narrative; he will accept his fate and throw the fight. By creating these expectations through performance Willis, and Tarantino, are able to surprise the audience later by cheating these expectations when Willis goes against these orders and knocks out and kills Floyd (his opponent) in the first round of the fight (though his facial expression when Vincent calls him out as a coward at the bar at the end of the scene in Sally LeRoys, hints to the audience that he may well refuse Marcellus' orders). The passivity of his performance continues in the taxi scene, with a very muted response to finding out that he has killed his opponent but his performance style changes completely once he finds out Fabienne has forgotten to collect his prized gold watch. The verbal (the tone of his voice) and the non-verbal (body language, figure behaviour) elements of his performance dramatically switch from being very reserved to violent and histrionic as he smashes the TV in the motel leaving Fabienne cowering in the corner. This more active, dynamic performance style is continued when he rescues Marcellus in the rape scene.
This change in performance happens in reverse with Jules (played by Samuel L Jackson) and is perhaps best exemplified by looking at the delivery of his two speeches from the Bible (Ezekiel 25:17). When Jules first delivers this speech as he kills Brett in the aprtment as Jules and Vincent collect Marcellus' briefcase both Jackson's verbal (the volume and tone of the delivery of the dialogue) and non-verbal communication (his contorted facial expressions) are violent and exaggerated, suggesting that he is dangerous and uncompromising (a representation that is emphasised through Tarantino's use of low angle shots to show Jules' power and threat). The second time that Jules delivers the speech in the diner when Ringo/Pumpkin tries to rob him emphasises a totally different performance style in terms of his verbal delivery and his body language. Here, Jules' tone of voice is calmer, much more measured and reserved suggesting that he has changed as a character and no longer believes in the violent life he has been living. His body language is similarly measured and far more passive than the scene earlier in the apartment reflecting the character's narrative arc and the journey he has been on. Again, by changing performance style Jackson, and Tarantino, cheat audience expectation.
It is partly through the performances, then, that the audience begin to position themselves with certain characters, as we see them change. Vincent (played by John Travolta), for example, is quite sullen and reserved in the opening scenes (almost catatonic in the apartment scene which the more extroverted Jules dominates) and is therefore reasonably difficult to like. The change in performance style in his scenes with Mia, however, show the character in a different light; much more open, more caring and, in his final scenes where he administers the adrenaline shot and drives Mia home, more heroic. This aligns the audience with him (in a way that we weren't aligned in his early scenes) so that his death relatively soon after this scene comes as a genuine shock (you should think about the relief and pleasure the audience get when the character is resurrected for the last scene in the plot).
One final point about performance in Pulp Fiction is related to the script and Tarantino as an auteur. Many directors allow their actors to improvise scenes, taking control over what the actors say and the ways that they deliver their lines. As an auteur, who is keen to foreground his writing as much as his directing, it is very unlikely that Tarantino would allow his actors to stray from the carefully written, pop-culture referencing, dialogue that he has written (and that has come to be seen as one of the most important aspects of his auteur signature). A key element of performance, then, comes through dialogue and this suggests that you can argue that many of the performances are in fact shaped by the director rather than the actor (again, a level of control that has come to be expected from an auteur). Even Tarantino's stage directions, for example the note to actors to deliver the diner conversation in a His Girl Friday style, suggest he has clear control over the way his actors deliver their lines.
Typical questions related to performance can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. Explore how far performance contributes to the 'experimental' identity of your chosen film.
3. Explore how aspects of performance are used to create meaning in your chosen film. Make detailed reference to particular sequences in your answer.
Typical questions related to performance can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. Explore how far performance contributes to the 'experimental' identity of your chosen film.
OR
2. 'Experimental film is often the result of an auteur challenging established conventions with fresh ideas.' Discuss the extent to which performances in your chosen film are shaped by the director. Make reference to key sequences from your chosen film.
OR
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