Brett and Marvin: Pulp Fiction and the (skill-testing) question

In this fifth installment exploring Pulp Fiction's treatment of redemption, we consider Jules' famous scene with Brett; he  had asked Brett if he knew why a Quarter Pounder with cheese was called a Royale with cheese in France. Brett proved he was a smart guy, figuring out that a Quarter Pounder with cheese can’t keep the same name in France… “because of the metric system” (“Check out the big brain on Brett…you’re a smart mothe…”) It was on the basis of his right answer that Jules could “lay his vengeance upon him” – because he should have known better. 

The Wolf is the Lamb: Pulp Fiction's Saviour-type

"Redemption" is the grand theme of Pulp Fiction, and no discussion of Pulp Fiction's treatment of redemption (this being the 4th installment exploring the treatment) is complete without recognizing the saviour-type that Quentin Tarantino presents, who is none other than Winston Wolf.

I fully appreciate that some people might be uncomfortable with the idea of using gangster stories to portray Jesus or aspects of the salvation relationship; or, if that's not what Tarantino intended, then they might be uncomfortable with my interpreting the movie in this manner. 

I wouldn't presume to challenge you by saying "hey, what did you expect from DRD's Movie Musings? This ain't yo' mamma's prayer meeting"(although, by saying I won't say it, I just did, didn't I?) 

But, I will challenge you to read on, and then you tell us what you think.

You're judging this [expletive] the wrong way: Pulp Fiction & miracles

"Coincidence is when God chooses to remain anonymous."

I used the term "judging" in the title of this 3rd installment exploring  Pulp Fiction's treatment of redemption, but I'm not using it as it has been used in previous posts on the theme of judgment. 

For you fans of Koine Greek, there's a nuanced difference (pun intended) between krino and diakrino (and katakrino, and anakrino, etc.). In this post, we're talking about the issue of discernment - differentiating one thing from another; what we're differentiating are coincidence and providence.

Don't put me in this position, Vincent! Pulp Fiction & Redemption Accountability

Having discussed the primary Winfield/Ringo pair in the 1st installment of Pulp Fiction's redemption treatment, we now focus on the anomaly, Vincent Vega.

Vega is the only main character to die, and Tarantino is sending a message - failing to recognize the multiple opportunities for redemption, the guiding hand that made escape possible for everyone steps aside and crazy events unfold towards his demise.

Redemption & saviour types: Hollywood’s go-to sources

Hollywood is awash in studies on redemption. 

Some of the greatest movies of all time are explorations and treatments of this redemption theme, including the following popular titles which occupy high spots on the IMDb Top 250:

• The Godfather 
•  the Star Wars original trilogy (we're not going to even begin to discuss episodes 1-3 here)
•  Pulp Fiction  and, of course (wait for it…)
•  The Shawshank Redemption (and the word is baked-on into the title itself, isn't it? Nothing subtle or mysterious here at all).

Christianity is one of the primary forces that has shaped our Western society and culture, and this world religion holds redemption as a central theme. 

As such, we continue to return to its study as it is part of the foundation of our world view, even if we today are, as a society, more secular and more scientifically atheistic.

Trying hard to be the shepherd: Pulp Fiction and Redemption

I find Pulp Fiction to be a remarkable treatment of the redemption theme, using several layers to accomplish the message. We’ll explore this fascinating treatment in installments.

One of the first tools Tarantino employs is a non-chronological order to the telling of the story which I believe to be a masterful stroke.