The recent anniversary of Quentin Tarantino’s Pulp Fiction, which won the Palme d’Or at Cannes twenty years ago last month, was met with a plethora of articles extolling the film and its legacy. This is hardly surprising. Tarantino’s sophomore effort continues to hold up well, in no small part due to its dime-novel pedigree, which rendered it archaic the moment it was made while also imbuing it with a certain timeless quality. Its legacy is perhaps more debatable: that it remains one of the most influential films of the 1990s is without question, though whether or not the world needed its conga line of imitators is more doubtful.
What very few of the articles have explored is the manner in which Tarantino has been unable to realise his full potential in the wake of Pulp Fiction‘s success. Within the context of his oeuvre as a whole, the movie continues to represent the high watermark.
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