It’s pretty clear that the three of them are in the late stages of polishing the routine, but it’s not finished being polished, the way an Astaire and Rogers scene would be. The choreography itself insists on a world outside the illusions of the film, of film itself, of rehearsals, of multiple takes.
The three are very quickly three people who are NOT the characters of the film. Not as three characters in a story who somehow decide to dance for four minutes out of nowhere, a mysterious choreography that we have no idea of hte source of. Godard is being Godard, and pressing the “verité” of the scene, the underlying factuality of it. These include the decision to present the sequence in a continuous shot. As I see it, Godard’s scene depends on a very complex set of elements. Only the most feeble understanding of Godard seems to accompany this in his use of the setup. The Godard reference that he apparently insists on is one such. But the boy genius all too often reveals his own misunderstanding of these “sources”. I don’t doubt he’s seen the films he claims he’s quoting: of course he has. What makes it risible is his insistence on the attributions he digs up. The facile emptiness of Tarantino’s entire body of work often astonishes, and this is one of those scenes. Follow him on Twitter at on Facebook, or on Instagram.
Pulp fiction song bar series#
His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. How Anna Karina (RIP) Became the Mesmerizing Face of the French New Waveīased in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. The Music in Quentin Tarantino’s Films: Hear a 5-Hour, 100-Song PlaylistĪn Analysis of Quentin Tarantino’s Films Narrated (Mostly) by Quentin Tarantino Quentin Tarantino’s Original Wish List for the Cast of Pulp Fiction Quentin Tarantino Gives Sneak Peek of Pulp Fiction to Jon Stewart in 1994 Maybe we should widen the spectrum on this.” Tarantino’s unwillingness to compromise his ambitions and obsessions has made him perhaps the most acclaimed filmmaker of his generation, but so has knowing when to defer to the star of Saturday Night Fever. There were dances like the swim and the Batman and the hitchhiker and the tighten up. So he told the director, “When I was growing up, there were novelty dances.
“Quentin was dead-set on both of us doing the twist, which is a very fun dance, but it’s limited in how long one wants to watch someone do the twist,” Travolta remembers on a recent appearance on The Late Late Show with James Corden. The very image of the man dancing made for yet another chapter of pop culture from which the film could draw, but without his real-life dancing skills and instincts, the scene wouldn’t have been as memorable as it is. The casting of Travolta (Tarantino’s “strong, strong, strong second choice” for Vincent Vega) proved fortuitous.
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