The Michigan Daily - W4/e4 tU. - Thursday,September 14, 1995 - 38 Pulp Fiction: like we really need it on video already ,}yw}v.,w ...yv :' in^vi '{tr +iy...x. +v..vr ti. Fi:i:!!.kA'{..\+Cm}v.}}tiv rnnr.} 'u: W 4." 1'J94ih }fnNtln06 . t t ,. > . . . . . ................. DEAN BAKOPOULOS Sound and Fury This summer I donned a bit of academic pretentiousness and American naivete, and played the expatriate writer. I went abroad to take a literature course at Cambridge, then spent some time in London and Paris. On the way, I felt all wishy- washy, a bit awestruck about studying in the same halls as John Keats and Virginia Woolf; a tad excited about roaming Paris and London, the stomping grounds of legendary literary expatriates like T.S.. Eliot and Ernest Hemingway. Above all, I was excited about* spending several weeks without the whir of American media and enter- tainment. I had had it with Pocahantas happy meals, Hootie and the Blow- fish, and Batman. My job as a news writer at a CBS radio station had given me my fill of Hugh Grant's Hollywood Hooker and the lingering O.J. trial. I wanted some culture, some history, some tradition. I Isought I was headed to the right place. So, it was with some dismay that I stepped off the subway at King's Cross station in London (looking hopelessly American, I might add) and heard a street musician playing Bon Jovi's classic British epic "Dead or Alive." Up the stairs and into the streets of London, my first sight was a bustling Burger King, complete with Judge Dredd collector's cups. America's snap, crackle, pop culture was following me. But once I retired to the idyllic university town of Cambridge, things changed. Treading the same footpaths as Milton once tread, I went into a restaurant, famished from my transatlantic journey. I struck up a conversation with a traveler from Poland. Ah, I thought, this is that international European flavor I had been longing for! (Actually, in all honesty, my newfound East European chum and I were dining on Super Hero Meal Deals at McDonalds, and the reason I struck up a conversation with the lad is because he was wearing a "Michigan Basketball" t- shirt.) From day one, my experience abroad had a distinctly American flare. No matter how far I wandered in English Gardens, or how many obscure ales I sipped in out of the way pubs, U.S. pop culture followed me. I met a student from Russia wearing a "Just Do It" sweatshirt, and another from Italy wearing a "Do the Bartman" tee. I traded an old "Go Blue" t-shirt for a pair of used Doc Martens on my last day in London. I sipped cider in a pub that legendary writers like Malcolm Lowry used to get sloshed at, while Warren G. thumped from the MTV satellite hook-up. I spent my time riding the Metro in Paris looking at Sandra Bullock's sneering little face on the "While You Were Sleeping" posters that plastered the town. I saw more Budweiser t-shirts than I have since the wacky Spuds MacKenzie craze. Of course, there were some benefits to American pop culture's saturation of Europe. My last night in Paris, sharing a peaceful dinner with some lovely new friends just wouldn't have been complete without the Lionel Richie music that floated smoothly through the air. And really, my last night in a British pub, I did want to drown my depression in the Smiths, the Pogues or the Kinks; but hey, I got to hear some Hootie and the Blowfish. I mean, we kids just love Hootie. You know what they say, "Those kids are just wild about Hootie!" To be honest, though, American pop culture's looming presence became a small detail on my trip. The cities I visited were so rich in history, they possessed a tradition that existed before our continent was even discovered But our nonular culture By Joshua Rich Daily Film Editor Would it be sacriligious to suggest that "Pulp Fiction" will soon be in- cluded in dictionaries as a synonym for "messiah?" Probably not. Many col- lege students and quite a few other film fans around the nation might actually find such a label appropriate. After all, this movie, released almost one year ago, has already become a bona fide pop cultural phenomenon; it does more than just headline poster sales in the Michigan Union, it has, in some strange way, become a way of life. Imagine this: just as they will not know about some ancient thing called "Entree Plus" or the fact that the UGLi was ever actually ugly, first-year stu- dents here at Michigan will never know Ann Arbor without "Pulp Fiction." It has, since its initial October release at the larger Briarwood and Showcase the- aters, never left this town. And pres- ently it is the staple flick at the popular State Theater, now the preposterously self-proclaimed "Home of 'Pulp Fic- tion."' Then again, that name may not be too far from the truth. Since it picked up "Pulp Fiction" last December, the State has made over $100,000 off the movie in its 41-week run. (Suffice it to say, the State has no plans to get rid of the hit any time soon.) Thus, in the past 10 months, seeing this film seems to have become as common an Ann Arbor pastime as taking a walk in the Arb or going to Stucchi's for a late- night snack. So why are we, intelligent and di- verse college students from all over the world so drawn to a film that seems to add little to our lives except senseless violence and politically incorrect hu- mor? Perhaps it is the exciting blend of comedy, action and suspense so finely crafted in "Pulp Fiction" that keep us continually interested. Maybe it is the outstanding and exaggerated acting that draws us to it. Or it could be the com- plex, clever dialogue that tickles our funny bones. Whatever the reason, like "A Clock- work Orange," "The Rocky Horror Pic- ture Show" and even "Airplane!" be- fore it, "Pulp Fiction" is destined to become a cult (if not mainstream) clas- sic on this campus as well as on most others across America. It is now the most profitable independent film of all time, grossing over $100 million at the box office (and still counting) - al- most twice the earnings of the next highest indie flick. And this trend of popularity will almost certainly receive a boost as the film is released on home video this week. For those who don't already know: "Pulp Fiction" focuses on a few days in the lives of some Los Angeles gang- sters who pass the time shooting people in the head, overdosing on heroin and dancing the twist, among other things. In at least his third "career come- back" (although I'm not sure whether leading parts in "Staying Alive" and "Look Who's Talking," count as ma- jor turning points in a career or not), John Travolta stars as ignorant hit- man Vincent Vega. It is undeniably his most exceptional performance since he strutted his stuff in 1976's disco classic "Saturday Night Fever." True to form, this '70s icon is shown doing more than just killing people and waxing poetic about foot massages. He shines in the film's most memorable scene (and there are so many!) when, in a room filled with other icons from the past, he boogies with co-star Uma Thurman. Vincent's partner Jules is played by the always impressive Samuel L. Jackson who, after years of being an underrated talent in Hollywood, has finally gained some well-awaited and much-deserved notoriety. Unlike his dolt of a companion, Jules is a virtual pop culture encyclopedia who has a 1970s model for everything he does - such as aspiring to be like Kane in "Kung Fu." "Kung Fu?" How ran- dom. Bruce Willis also stars as his most fascinating character to date. In "Pulp Fiction," Willis jumps far out of his usual action movie persona to play haunted boxer Butch. His is a complex personality, a homicidal brute who is also a tender lover and gallant hero. Though he has few lines, Willis domi- nates the screen with his slick-shaven head and frighteningly amusing adven- tures. Throw in a plethora of assorted cam- eos - Harvey Keitel's reprise of a similar role he had in "Point of No Return" (1993) as a savvy "cleaner," Tim Roth's bumbling robber, Eric Stoltz's high-strung drug dealer and director/GOD Quentin Tarantino's bit part as a relatively innocent bystander -and you have a film that is an actor's dream and a film connoisseur's sweet candy treat. "Pulp Fiction" has jump- started the careers of all involved and made Tarantino virtually a household name (he is already included by many in an elite class of stylized violent film directors like Sam Peckinpah and John Woo). So while "Pulp Fiction" is certain to dominate video sales and rentals for the next few months - and we are bound to watch it even more - look for many of those involved in upcoming projects this winter. Director Tarantino lends his hand in the group directorial effort "Four Rooms," Willis stars in another offbeat film, this time as a futuristic bald guy in director Terry Gilliam's "Twelve Monkeys," and Travolta will act in the film version of the cult novel "Get Shorty." Travolta is the first to admit that he now takes most career guidance from new pal Quentin, hence his starring role in this upcoming film. And do .you blame him? Upon seeing how Tarantino boosted Travolta and many others' careers by casting them in his insta-classic, I certainly wouldn't hesitate to consider any advice the guy might have to give me. After all, this kind of genius arises only once in a long while. OTHER RECENT RELEASES IN- CLUDE: "Before Sunrise" - Hot French ac- tress Julie Delpy and Ethan Hawke have a brief romance on a European train. All's going well until Ethan starts up with all his teenage angst and "O Cap- tain, My Captain!" crap again. "Boys on the Side" - Whoopi Goldberg and Drew Barrymore take along some others on a cross-country jaunt. On the way, they discover their womanhood and that their movie is a complete rip-off of "Thelma and Louise." "The Brady Bunch Movie" - Who gets to choose between Doug Simpson, the "Big Man on Campus," and his meek alter ego, Charlie, to take to the big dance on Friday night? Marcia, Marcia, Marcia! "Children of the Corn 3" - Isn't it amazing how they manage to make sequels to stupid Stephen King horror films that we never saw or heard of in the first place? "Just Cause" - In this stupid, un- original crime story, "L.A. Law" alum- nus Blair Underwood finds a career again, ever-aging Sean Connery plays some washed-up lawyer with a beauti- ful wife he doesn't deserve, Ed Harris plays mean, and Laurence Fishburne spends the time convincing everyone to stop calling him "Larry." "Kiss of Death" - In this exciting remake of the 1947 classic, Nicolas Cage and David Caruso star in direc- tor Barbet Schroeder's dark and fright- ening tale of an ex-con who struggles to go straight. All Caruso's Jimmy wants to do is settle down with his beautiful wife (Helen Hunt) and raise a family. But misfortune and evil fol- lows our hero no matter how hard he tries. His wife dies, his family turns on him, and a failed truck hijacking lead crime boss Cage to hunt Jimmy down. "The Last Seduction" - Overnight success has befallen star Linda Fiorentino after her impressive portrayal as a sneaky femme fatale in this fun thriller. "Major Payne" - Damon Wayans fronts this silly comedy about a misfit military guy who, as punishment, is assigned to command a platoon of wacky kids. For all you smart people who saved your money in anticipation of this film's video release, it's finally here ... hooray! "Nell" - Jodie Foster plays a re- tarded mountain woman with a kind heart. Liam Neeson and real-life wife Natasha Richardson play rival psychia- trists who fall in love while fighting over control of the poor girl. Oh God! Not another one of those movies. "Nobody's Fool" - Bouncing around a small town in the Northeast, old man Paul Newman lights up the lives of everyone he meets. He is the most popular person in town, at least until that pesky Nell arrives. Feel good today. "Red" - The third installment in director Kryzstof Kieslowski's "Three Colors" trilogy, this film stars stunning Irene Jacob as a naive Swiss model who has amysterious affair with ahigh court judge. Excellent cinematography and psychological intrigue dominate this movie that features a strange finale unit- ing "Red" with its predecessors, "Blue" and "White." "Star Trek: Generations" - For all the "Star Trek: The Next Generation" fans out there, this film features the cast of the hit TV show. To make matters even better, pathetic Bill Shatner dies ... twice, finally legitimizing Picard's assumption to the Enterprise's captain's seat. 'Angus, I salute you' Coming soon: September 19th "The Madness of King George,~ "R.oomniates" "Losing Isiaih" - S"LitteOdssa" "iAian ofNoImpoarance"~ "Buffalo girls U. 4 ~ /4 ,e Bruce Willis wonders how "Hudson Hawk" got in a cool movie as "?ulp Fiction."