Pulp Fiction Opening Sequence Analysis

By Christopher Osbyrne

Pulp Fiction’s opening scene is similar to our film’s because it has the typical iconography and tone

of a classic robbery/heist film.

The sequence opens with a medium two-shot of characters Ringo and Yolanda sat at the table of what

seems to be a breakfast restaurant. Each of them are discussing how

each of them are through with doing robberies because it’s “too

dangerous” and how Yolanda believes that he “quacks” every time he says that he is not going to do it

ever again. The shot holds for roughly for 30 seconds for the

audience to concentrate on each of the characters and to familiarise

themselves with how each of them look.

After this, there is a brief cutaway to a close-up shot of a waitress

approaching them asking if they want any more coffee which

Yolanda’s character replies to her exaggeratingly happily with “yes, thank you”. From this we can infer

that each of the characters, especially Yolanda, are very

charismatic and also that they want to keep what they are talking about a secret to others, despite them talking

about such a criminal subject in a public restaurant.

The scene then cuts back to the original shot used at the beginning of

the two them beset in a mid two-shot. As they carry on a conversation about a man who allegedly was able to rob a bank with a telephone, the

shot then cuts to a medium close-up of Yolanda as she finishes pouring

milk into her coffee and makes eye contact with Ringo. This shot brings

the audience closer to the conversation and the characters and allows us to focus on the story Ringo

is telling just like how Yolanda suddenly becomes interested in his

story.

There is then a few quick cuts between Ringo and Yolanda having a back and forth conversation, cutting between the single medium close-up of Yolanda and an over-shoulder shot from Yolanda to Ringo; conforming to

the 180-degree rule.

It then, again, returns to the original two-shot from the beginning once

Ringo explains why he is telling the story and that he wonders why

nobody “robs restaurants” and that “we’d be better off robbing banks”.

He also makes a slight racist comment about the how most shop-

owners are “gooks” or old Jewish people, further establishing each other characters as the rebellious and criminal type. Moments later Ringo shouts “Garcon, coffee!”

referring to the waitress who came to them before. Whilst she approaches them, Ringo suddenly says under his

breath that he wants to rob the restaurant they are currently in. They go all the advantages each of them have over the customers and “bus

boys” in the restaurant because they are not expecting it. Ringo also

comments on an idea that Yolanda had about “stealing people’s wallets”

and how that could get them even more money. Ringo’s affection and encouragement of Yolanda’s idea

conveys that each of them are most likely a couple.

Lastly, as they confirm that robbing the restaurant they are currently in

would be beneficial to them, they is a quick cut to a close-up of Ringo’s

handgun and another to the two of them sharing a romantic kiss, as if it was going to be their last. This then confirms to idea that each of them

are a couple and the terms of endearment, “Honey-bunny” and

“Pumpkin”, they call each only enforces the closeness between them. In contrast to this, each of

them stand up on top of their chairs and announce to the restaurant that

they’re going to rob it. Yolanda screams furiously with strong

language, which subverts gender stereotypes where the male would

commonly be stronger, which creates a complete juxtaposition of romance with crime; thus creating a comedic

tone.