An Inside Fact at Pulp Fiction vs. Vertigo

The films Pulp Fiction and Vertigo, are very similar in the way in which they use homogeneous film techniques in order to communicate to their audience their messages. The use of these formal choices are what help develop their unique cinematic style which in turn enhances their overall themes. Both films convey these messages with a similar technique called mise-e-scene, with the use of symbolism/motifs, setting, sound, and camera placement. The iconic film Pulp Fiction, directed by the well respected Quentin Tarentino uses these techniques to emit the themes of time and dominance.

Although Tarantino's film is more about artistic editing and unique storyselling, with further analysis, there is a deeper meaning. On the other hand the film Vertigo, directed by another exemplary director Alfred Hitchock, uses comparable techniques to help emanate the themes of guilt and fear.

The film Pulp Fiction, written and directed Quiten Tarentino is known to be one of the most illustrious films of all time.

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This is because of the idiosyncratic film techniques used in order to help convey its themes and messages. The plot of Pulp Fiction is surrounded around the lives of two established hitmen Jules Winfield and Vincent Vega, as well as thier connection to the runanway infamous boxer, Butch Coolidge. Through their journeys we also meet reappearing characters like their boss Marsellus Wallace and his wife, Mia. The film intertwines the lives of all these characters, while displaying its themes of time and dominance. The theme of time is reflected with Taretino’s way of jumping around from shot to shot in no organized order, but statistically intertwining each scene to all cohesively connect in the end.

The theme of dominance always follows the plot of the story because in every scenario a character is going through obstacles which eventually lead to them gaining that authority and control over a person or situation. In the first scene we are introduced to a couple who is about to rob a diner. Then a change of events flashes to Butch fighting in a match which reuslts in the death of his apponent. Lastly we see the two hitmen being introduced when they are interrogating a few of their bosses associates. Although all these scenarios don't seem connected at first, throughout the film the viewer begins to notice how they all coincide. All these characters go through their own ups and downs in order to reach their personal goals, but in the end all of their lives are eventually linked together.

The use of the formal technique mise-en-scene is continuously used throughout the film. One of the first examples of mise-en-scene we notice as an audience is the encounter between Vincent, Jules, and a few of Mr. Wallaces’ rouge associates over a briefcase. In this scene the theme of dominance is very prevalent because of the formal techniques used. The beginning of this scene starts of with Vicent and Jules entering the room in a wide angle shot and then closing the door behind them, which symbolically represents the setting becoming a closed environment. When Jules is interviewing the men, we see that with the wide angle camera placement all the men are seated. Throughout the scene the associates stay seated and Jules and Vincent are always standing which in turn represents the authority they have over the situation. This dynamic helps represent the idea that the hitmen are in control and the fact that the associates are looking up to them means they are in a weaker position. Tarentino uses the techniques of wide shots of the room as well as close ups of each characters expressions, such as the direct eye contact Jules gives one of the associates named Bret to help further differentiate the type of dominance he has. Another thing that shows how Jules has complete control is when he starts to indulge in Bretts food. When doing this he makes direct eye contact with Brett, however he is looking down at him which again further represents the power he has. Not only that, but by eating Brett’s food it helps the viewer realize the control Jules has over his property and possessions.

The second scene in which mise-en-scene is prevalent is Vincent Vega’s first encounter with Mia Wallace. When entertaining the house, the viewer first notices the abundance of white filled within the house. This includes the interior of the house and its furniture, as well as the outfit Mia is wearing. When further analyzing Mia’s character and lifestyle, we can see how ironic it is that everything surrounding her is white. The reason this is so ironic is because traditionally the color white is meant to symbolize innocence and morality. However, with Mia being married to a mob boss, and having her own personal struggle with drug addiction, we can see her lifestyle is far from pure. In this scene Tarentino uses a change in camera angles to show Vincent entering the house, which then shows the audience the contrast of color with his black suit and the houses white interior. This leads us to infer that this is meant to symbolize that Vincent doesn’t fit in with his surroundings, and by intervening, conflict will arise. Another technique used that further enhances the contrast is that of sound. During this scene the song “Son of a Preacher Man” is playing in the background. Again this creates a paradox because it further enhances the vibe of innocence trying to be communicated. Another way in which this scene further amplifies the theme of dominance is when Mia Wallace introduces herself through the house intercom with an extreme close up of her lips. By doing this she is asserting her control over the situation, as well as when she tells Vincent to sit down and grab a drink. These close ups continue throughout the beginning of the scene and Mia’s face isn’t shown until right before they are about to leave the house. As a viewer, we see that this symbolizes the wall Mia puts up around herself towards others, as well as the complexity of her character and how she can find it difficult to open up.

Further into this scene we see the theme of time and how much can happen in such a short amount. In the first half of the encounter between Vincent and Mia, as an audience we could see the dominance Mia has over Vincent because of the fear he has over towards her husband. He complies with her demands, but doesnt want to get too close to her because of stories he has heard about others being murdered for getting too close. This standpoint however switches when Mia and Vincent are in the restaurant and begin to communicate with each other on the same level. After we see the dynamic shift from her having dominance to them being on an equal perspective. This however changes again when the theme of time comes into play. Later that night Mia overdoses on a line of cocaine and Vincent must take dominance in order to not only save her, but ensure his safety due to the fact that her husband is a renowned mob boss. As an audience we see how much can happen in such little time and how quickly relationships can shift. After this incident both agree to never speak of it and are again finally on an equal standpoint.

The psychological thriller film Vertigo, directed by Alfred Hitchocok also uses formal choices comparable to Pulp Fiction in order to display its themes of fear and guilt. The films plot surrounds an ex police detective by the name of John Ferguson, or “Scottie” who has developed a severe fear of heights, as well as vertigo caused by a past incident in which he watched his partner fell to his death from a rooftop. Scottie is confronted by an old friend by the name of Galvin Elster, who wants to hire him as a personal detective in a strange case. Galvin explains the suspicious activity and mindless wondering his wife, Madeline, has been doing and believes that she may be possessed by her great grandmother. At first Scottie rejects the request, but when he is informally acquainted with Madeline, he is intrigued by her appealing looks and mysterious actions and decides to take the case. The plot begins to unfold as Scottie continues to follow her around the city and starts to actually believe Madeline may be possessed due to the fact that she lacks memory of trying to jump off of a bridge into the bay. Further continuing on with his case, he begins to grow fond of Madeline and eventually realizes he may be actually in love with her. Scottie and Madeleine starts to develop a sort of relationship and it seems to be going well until Madeline falls off a bell tower and dies. This devistates Scottie, but near the end of the film we discover the major twist that Madeline is not dead and that her real name is actually Judy. The two reconnect under uncanny conditions until it begins to be too much for Judy and the same vicious cycle continues to her and Scottie having a fallout which in turn leads her to eventually also falling to her death.

Similarly to Pulp Fiction, Vertigo uses the formal choice of mise-en-scene continuously throughout the film. Hitchcock uses this technique in order to further build a sense of suspense as well as further the viewer's understanding of his messages. One of the most prevalent ways in which Hitchcock produces mise-en-scene is with the use of innovative camera angles creating feelings of fear and tension. With the use of camera angles such as dolly shots of Scottie’s expressions and a constant zooming effect from wide angle to close up, it helps the viewer truly understand what is going on in his head while struggling with vertigo. Another way in which Hitchchock uses mise-en-scene in helping the audience further comprehend Scottie’s mindset is with the use of motifs. The most prevalent motif is the use of spirals which directly connects to Scotties Vertigo. Through the use of spirals and point of view shots it helps the viewer get a more inside look on what's going in Scotties mind and the effects it has on him. With the use of editing, spirals are seen continuously throughout the film. Although spirals can represent many meanings, the one that is most sustained is the idea that everything is continuously spiraling out of his control which in turn is creating chaos. When looking at spirals it seems the shape is never ending which also coincides with the events in Scottie’s life because every time something seems to be getting better, the cycle goes on and he finds himself in the same depriving position.

Another choice Hitchchock uses that is similar to that of Tarantino is the use of color in order to represent the message being portrayed. For example, in Vertigo the color green is continuously represented in various ways. The most frequent connection is to the character Madeline/Judy. The first appearance of green we notice as a viewer is the color of her clothing. This continues when we first see Madeline step into her car which is also green. Another thing we notice that connects her to the color green is her hotel room. In these scenes the hotel is constantly lit by a neon green light which again shows the connection. Although not specifically stated, we can infer the color green which is usually connected to that of nature which may represent the contrast between the beginning or in other words life, as well the end or also described as death. The color green can also represent the idea of change and it continues to connect both themes of guilt and fear because those are the feelings both Scottie and Madeleine possess throughout the film. Hitchchock also uses the color green a lot with setting. For example, with Scottie and Madeleine first interaction in the green forest surrounded by trees in which they converse about the ideas of the afterlife and the connection between nature and death.

The use of mise-en-scene and its corresponding formal techniques of symbolism/motifs, setting, sound, and camera placement is what makes both Pulp Fiction and Vertigo such iconic films in history. These choices are well help make both pieces such captivating works of art for its viewers. Not only do these techniques help with the artistic structure, but also ensure the audience has a better understanding of the overall narratives being presented.