Pulp Fictionis one ofthe greatest movies without an actual protagonistbecause every single one of its main characters is excellent.
Even her first line about how these piercings make her feel is very out there.
Once Mia and Vincent show up, she’s just yelling all over the place.
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The sheer amount of arguing and noise Jody creates adds a lot to the tension.
Note that the more the scene plays out, the more silently excited she becomes.
Most side characters don’t dothis much work to establish the mood, let alone this well.
Another side of Yolanda comes out when the tables turn on her partner in the film’s final act.
Has he learned his lesson by the end?
One can only hope.
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He takes a while to arrive, but once he does, his presence is very strong.
He’s reliable, and everything else viewers learn about him supports that.
In telling Butch’s father’s story, he is more or less telling his own.
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Koons looks just as important as the watch, and his delivery of the story is very effective.
Tarantino uses this to the character’s advantage, taking his time before showing Marsellus' face up close.
Like everyone else,Marsellus can still be very funny and relatable.
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Yet, like all the anti-heroes here, his actions allow us to still root for him.
Butch doesn’t let his fellow prisoner suffer that fate, and it (sort of) redeems him.
Like Marsellus, it takes audiences a while to see her face as well.
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Out of all the characters,Jules has the most complete and fascinating arc.
He begins as a hitman whose intimidating friendliness almost single-handedly builds tremendous suspense.
But then he and Vincent miraculously survive several bullets fired straight at them from a fairly large gun.
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The look on Jules’s face after they shoot the bathroom guy says it all.
By the end,the audience hopes he turns into the shepherd he wants so badly to be.
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Image via Miramax
Image via Miramax
Image via Miramax
Image via Miramax Films
