Jacksonīut Jules must now deal with the firecracker Yolanda, Ringo’s accomplice and love interest, who nearly loses control as she imagines the thought of Jules blowing Ringo’s head off into oblivion. Ringo played by Tim Roth and Jules Winnfield played by Samuel L. In an attempt to relieve Jules not only of his provocative wallet, but also of his glowing briefcase full of mysterious riches, Ringo loses focus long enough for Jules to instinctively grab Ringo’s gun, pull out his own, and consequently gain the upper hand of the situation. As soon as Vincent excuses himself to use the facilities, a robbery unfolds. After a long and eventful morning, Jules and Vincent enjoy a lazy breakfast at a local diner. The conversation that takes place during the diner scene between Jules, Ringo (Tim Roth), and Yolanda (Amanda Plummer) epitomizes Tarantino’s ability to intimately connect the viewer with any given character through philosophical and thought-provoking conversation. The character of Jules Winnfield is no exception. Tarantino’s seemingly effortless ability to represent unlikely characters in complex and believable ways through dialogue is comparable to none. Pulp Fiction’s final scene harbors smart dialogue, unrelenting intertextuality, and methodically placed slow-cutting that effectively work against the reactionary portrayal of the standardized thug, while leaving the audience to decipher Jules’s convoluted moral revelation, in an otherwise Godless film. This scene disconnects Jules from the expected characterization of the orthodox gangster, solidifying the notion that his role is progressive in nature. The final scene in Pulp Fiction, sometimes called “the diner scene,” changes the audience’s perception of Jules and consequently the movie as a whole. But after a “miracle” takes place that results in Vincent, played by John Travolta, and Jules not being shot down by a crazed combatant unloading his gun at the two from only feet away, an observant eye begins to notice a change in the ideological nature of Jules. After all, we see this cold-blooded killer execute a man for no other reason than to intimidate and get inside the head of a man who has fallen short on a business arrangement with Jules’s boss, the infamous Marsellus Wallace. Jackson, as a heartless and reactionary exemplification of the typical thug. Until the end of the movie, one could possibly write off Jules, played by Samuel L. Only after witnessing the varying behaviors of the main characters in both their work and social environments can the audience truly grasp the complex essence of Tarantino’s characters. In Quentin Tarantino’s Pulp Fiction (1994), the audience observes a world portrayed from the gangster’s point of view. Pulp Fiction: How Tarantino Breaks the Mold of the Reactionary Gangster
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