Far Throughout The Narratives Vincent's Amoral Attitude example essay topic

Pulp Fiction, through the course of incorporating three seemingly unrelated narratives pulled together an interwoven story that unfolded like a well-oiled machine. With each of the narratives relying on pieces of the lurid subject matter (pulp) previous to it, which aided in expressing the overall theme. The film manages to pull this off while still giving each of its narrative segments equal weight; as a result they work like interlocking gears, each one necessary to all the others. Leaving us with thematic structure and many different kinds of pulp in a humorous amoral setting. What is strange about these intermingled narratives is the order in which they are told. I hope to articulate how the fracturing of this story aided in the overall effectiveness of Pulp Fiction.

During the prologue we are introduced to Bunny and Pumpkin who bracket the film and provide us with an influential thrust toward the theme, as well as to what proceeds. As Pumpkin's ironic discourse unfolds we find he wants to leave behind robbing liquor stores because it's too much of a risk, yet he's too smart and together to need a day job. So he banters on about the easiness of armed robbery aimed at soft targets. With their cocky attitude and misguided confidence, they launch a spontaneous and poorly planned robbery sending us into the credits.

Bunny and Pumpkin have then setup the amoral attitudes of our protagonist. But they also have touched on the risk designated with this lifestyle and attitude, a thematic issue that is explored throughout the film. Now two of our protagonists are introduced Jules and Vincent. While we ride along with them we are allowed to develop a partiality toward them. Through their quite friendly banter, as they nonchalantly talk about Vincent's trip and the little differences between Europe and the US. Once we arrive at their destination the amoral nature of the characters are illustrated again, as the discussion ranges from their weapons of choice to the right and wrongs of a foot massage.

Their conversation also sets up the proceeding narrative building anticipation around what is going to happen with Mia & Vincent, as well as helping to develop the outer goals of Vincent and Jules. Which are simply do there job while taking now bull from anyone (except from those higher up in the game). Their nonchalant attitudes, plus statements like, "let get into character" continue to build our partiality for the men despite their occupation. Once in the apartment our first discrepancy between the film and the screenplay also takes place, cutting this narrative segment after Jules speech. As a result the scene solidifies our impressions of the gangsters as true gangsters, by not instantly putting them in a vulnerable position. A position that isn't even dealt with at all in the following narrative, in fact, in the screenplay Jules is not even part of the next story.

Cutting the scene here also sparks interest in Jules bad speech (bad in the cool way). Moving into the next narrative right away the foundation for The Gold Watch is setup, as Marsellus and Butch talk over their business deal. Albeit Marcellus is the big man on campus, but with the large self-confidence of all the films characters he soured his deal from the start. Condescendingly speaking of Butch's ability: how it won't last, and that being a fact that he's going to have to get real about. Marsellus continues, "Besides how many fights you got left?

You came close but you never made it, and if you where going to make it you would have made it by now". In the movie the affect of Marsellus's words was dealt with considerably better than in the script. Marsellus's spiel (from above) is the changed version; it makes the film more realistic not having Bruce Willis as a featherweight. However the big change that should have tipped Marsellus off was the line that was added after his mocking speech. Marsellus ask, "Are you my nigga?" And Butch's retort, "it certainly appears so". Adding salt to injury Marsellus continues his dialogue explaining the night of the fight Butch might feel a little sting, that sting is pride.

Latter in Maynard's shop we see the affect of Marsellus's words amplified while Butch punches him in the face screaming, "you feel that, that's pride mother fucker", a line that was also added to the film. All of these things play an important part in the following narrative; once again providing us with evidence of how these "separate" stories interlock with one another. Moving on to the meat of this narrative we deal with Mia, Mr. Vega, and our first turning point as the protagonist began to take shape based on their decisions. So far throughout the narratives Vincent's amoral attitude has been challenged by everyone's response to him escorting Mia out. The mystique and allure of Mia is weighted from the moment he arrives at the house and is greeted by a note. Once inside the house I felt the film handled the allure better by having Mia surveying and welcoming Vince as an omnipotent voice over the intercom.

Challenging his morals even more the date takes place in an atmosphere where Vincent can display his "A" game, a place any Elvis man would love. Intensifying his moral challenge again Mia wants to partake in the dance competition; once more a better choice than the script because it entices Vince even more while masking Mia's attraction with just wanting to win. As we later see she does trap him in her mysterious web as they dance through the front door her in his coat. Sorry to sound like a broken record but this was another change I liked.

Having Mia in his coat sets up the scene better for the overdose. It also weights the scene more as a moral choice for Vincent allowing Mia's attraction to seem more ambiguous by not having her go over and dance with his coat. Mia still has the upper hand, while Vincent is clearly rattled pushing him out of his amoral sphere into the midst of normal morality. In the bathroom Vincent looks at himself in the mirror and says, "It's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful". Vincent's choice to remain loyal to his boss (and consequently to his amoral life as a gangster) is a choice that feeds into the good verses evil theme that is elaborated in the following narratives.

In which Vincent finally pays for his choice to remain loyal to Marsellus when Butch kills him in The Gold Watch. However, first Vincent goes on to save Mia's life not because it's the right thing to do, but because he cares for his own well-being. Providing a pivotal moment to move into The Gold Watch. Right away we are given an example that serves dual purposes: one to show someone of honorable moral standards (Captain Koons) amidst all this pulp, second to provide us with some insight on the type of person Butch is and why he couldn't just give up the fight. We then empathize with the average Joe as he tries to escapes the tyranny evil. So when Butch goes to his apartment for his watch we are really rooting for him to make it through this war safely.

We are also allowed to see how this story not only ties into the theme but how it carries a bit of information that is crucial to forming our overall opinion of Pulp Fiction's theme (that information being the death of Vincent Vega). This also allows use to resolve the issue of what happens to men who refuse to change when faced with adverse situations, they are bowled over by the wheels of change. By not heeding his moral call to duty to break free of the "life" he was killed (an assumption we can conclude at the end of the film, interlocking gears). In addition we are allowed to empathize with the godfather of evil when Marsellus and Butch are captured leaving them both in a vulnerable position. Thus bringing this protagonist (Butch) to a vulnerable place where he also is challenged with a moral decision tying into overall theme.

Butch chooses to do the honorable thing thus he is rewarded after he saves Marsellus with his freedom. Butch was not the only protagonist allowed to walk away into the sun. We are once more united with Jules and Vincent, right back at Jules deadly speech. Where a lone gunman with a hand cannon ambushes Jules and Vincent narrowly missing them.

Jules feel that this brush with death is a sign from God that he needs to leave the "life", Vincent refuse to acknowledge this. Humorously while in the car arguing about divine intervention Vincent shoots an instant kid (Marvin) in the head forcing Jules to have to deal with their lifestyle once again and strengthening his resolve to get out. As if cleaning up bits and brain and scull wasn't enough to solidify Jules resolve to be a righteous man. By not establishing a "now" Pulp Fiction is allowed to seamlessly incorporate the opening scene back into the story placing Jules in a vulnerable position where he is forced to uphold his moral decision, trying fervently to remain a righteous man. Hence the title Bonnie Situation, Bonnie meaning a situation that would have been an attractive situation to the old Jules where he could play with Pumpkin than let him know who's boss an kill him. Instead he buys Pumpkin's life and saves him from the tyranny that Jules was trying so hard not inflict upon him.

In conclusion Pulp Fiction's non-chronological structure serves to heighten the impact of the choices made by the protagonists, in what is very simplistically a morality tale. In structuring the film this way we are allowed to see the characters grow and change making the overall film more enjoyable as it provides the usual pulp situations, but taking unexpected turns and bringing the characters into completely unfamiliar territory. If you where to section the film off in a chronological order it would lose the thematic structure set by the combination of the narratives in this order..