Quentin Tarantino
Pulp Fiction

Palme d'Or at the Cannes Film Festival for this "noir that brutally describes the growing explosion of violence in America." That's what the critics wrote.
But the virtue of critics, as we know, is superficiality. Let's ignore them. It doesn't take much to understand that "Pulp Fiction" is much more than a noir taken to its extremes. Tarantino has done something truly remarkable by leaving to posterity an incredible mix between the most ruthless human evil and the incomprehensible goodness of God that always knocks at the heart of everyone, even those who, in our eyes, deserve only condemnation. Yes, "Pulp Fiction" is a film about God's Mercy, or, if you prefer, about those Signs that He continually sends us and that change the lives of those who make the effort to see them.

But let's go in order. Here they are, in jackets and ties, Jules and Vincent, discussing an important topic (the "pilot episode" of a television series) before the slaughter they are about to commit. It is he, the charismatic Jules, who leads the second scene with his prophetic rant before punishing the rude man who stole the briefcase with his boss's dirty laundry.
The following scenes are the John Travolta show (a crazy and rewarding gamble by Tarantino who trusted him after years of obscurity). The syringe with heroin is very expressive. And John Travolta is (surprisingly) the perfect wasted man discussing the price of a milkshake. And while he enjoys the blended ice cream, Mia, the boss's cowgirl, looks at him enticingly: "You know when you realize you've found the right person? When you can be with them without needing to talk. We talk to avoid facing the silence." You are amazed. Up to this point, it seemed like nonsense, but Tarantino has something to say. Something to say about not saying anything.
They dance and then go home. But Mia is gone. If the beautiful one does not rise, the beast will end up crucified. Another syringe. A shot of adrenaline (also for the viewer) and plenty of laughter. The Boss has given Vincent another miracle. But the stubborn one, once again, does not want to see it. Why "another"? Because we will see the first one later.
A corrupt boxer breaks the rules. He thinks he has defeated the boss, but the boss is truly ubiquitous. And he is also very bad. But some bad guys know how to be as grateful as saints if they see loyalty on the other side.
OK. Three great stories. The first irony and delirium; the second irony, wisdom, and surrealism; the third brutal beyond any limit with a criminally moral ending. The direction of the actors is also great. But you wonder: is this Tarantino's masterpiece? And above all, what do those two unlucky lovers have to do with it, the ones we saw at the beginning in the diner and who decided to play at high noon for a few dollars more?
We must make sense of all the pieces by putting cement between them. And the cement is the last three scenes. With a more linear story, it would not have been the same because in this film the most important scene is not at the end of the story. And the master placed it at the end, to give it the value it deserved, thus avoiding, by default, the banal pessimistic ending of noir. Two birds with one stone.
Back to square one. A fool comes out with a gun in hand. But Jules and Vincent are still breathing.

- "It's a miracle, Vincent." - "It was an accident, Jules."
- "If you want to play blind, fine."
- "Christ!"
- "Don't swear!"
- "For Christ's sake!"
- "I told you, don't swear!"

Vincent loses his calm. The truth scares him. His hand trembles and he makes a mess. Only Jimmy can help them. But Jimmy is not enough. They need him, the Wolf, master of business as well as etiquette. The car is fixed, and Jimmy is happy with a new oak bedroom.
It's eight in the morning. That restaurant is perfect for eating and especially to stage one of the most beautiful table scenes in the history of cinema.
The theme is always Him, and Jules is growing more convinced.

- "After I deliver the briefcase to Marcelus, I'm finished."
- "And what will you do?"
- "I'll meditate and then go where He puts me."
- "I got it, Jules, you'll become a bum."
- "You see, it doesn't really matter if God turned Coca into Pepsi or something else. The point is that this morning, God was there. For me, He was involved."

For the brutal Jules, it's the beginning of a conversion worthy of Saint Augustine. Vincent needs to breathe a little. And while he relaxes in the toilet, the two losers from the very first scene reappear. That's what they were for: to give us the moral.
Jules has had enough: the averted death, the car to clean up, and the skepticism of the intellectual Vincent. And now also two mediocre people in search of strong emotions. But by now, the strength of the Supreme is with him. So the enlightened one takes the idiot and sits him at the table in front of his bazooka. And here you have the legendary soliloquy, worthy of the great masterpieces of mysticism:

- "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men… I am the shepherd. Vengeance upon those who attempt to poison and destroy my flock…" When I used to say this thing, it meant you were done. I thought it was all nonsense. And now... see, I am wondering who the weak one is and who the tyranny of evil men is. It could be that I am the weak one and you are the tyranny of evil men. Or it could be that you and I are the weak ones, and the world out there is the tyranny of evil men. That would be nice, and I'd like it, but it's not the truth. See, the truth is that you are the weak, and I AM THE EVIL. But now I want to try, and I know it will take a lot of effort, to become a shepherd."

The situation has become too serious. It's time to soften up. And here come the guns tucked into their boxers. Another hearty laugh. And here you have the first noir in history with a happy ending.
It would be nice, I would like it, but it's not the truth. You see, the truth is that Jules, that morning, wanted to see the Warning, while Vincent did not want to see it neither that morning nor (a few evenings later) with Mia's resurrection. Vincent was unreasonable. Moral of the story: a few days later, due to an unreasonably closed bathroom door in an empty house with a machine gun in plain sight, Vincent will go to see the Supreme in person.
Not Palme d'Or; platinum palm. With the applause of Heaven.