![]() ![]() An opera number composed in 1899, the inclusion felt like something new in 2004. He’s so sharp with music, in fact, that he found a speedy, horn-based version of “Flight of the Bumblebee” for 2003’s Kill Bill Vol. He’s even been able to retrofit old Ennio Morricone scores into his intoxicating historical revenge fantasies, specifically 2009’s Inglourious Basterds and 2012’s Django Unchained. In 1997, Tarantino announced the arrival of his titular Jackie Brown with Bobby Womack’s groovy, melancholic “Across 110 th Street”. In 1992, Reservoir Dogs showcased an infamous torture scene with an ear being cut off to the tune of Stealers Wheel’s goofy “Stuck in the Middle with You”. ![]() These are two qualities that have shined throughout his entire career. But part of what burns those images into our head is how Tarantino turns each scene into a brilliant marriage of sound and vision, thanks to his trademark dialogue and his penchant for unique soundtracks. Curious, clever, vulgar, and altogether thrilling moments. It’s a film comprised entirely of great moments. Royales with cheese, Big Kahuna burgers, golden briefcases, wallets that say “Bad Motherfucker,” watches, foot massages, the “Gimp,” Zed, poor Marvin, The Wolf, what Marsellus Wallace looks like, furious vengeance, the sting of pride, a needle in the heart, Honey Bunnies, Pumpkins, Kitty Kats, and Daddy-Os - all fractions of Pulp Fiction’s seemingly ceaseless linguistics about the minutiae of kitsch and pulp. Quentin Tarantino’s Pulp Fiction turns 20 this year, and yet the film remains lodged in everyone’s head. ![]()
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