Courtesy of reddit, an interesting theory on Pulp Fiction

We were stoned and talking about movies when I came up with this bizarre theory that I thought Pulp Fiction was about music in America. I'm very aware that this is most likely not true, but we had a lot of fun talking about it.

The briefcase is Rock and Roll. Marcellus represents the origin of rock music in America (blues, motown, soul, etc) Jules is Chuck Berry and Vincent is Elvis. They go to get the briefcase back from the nerdy white guys trying to steal it. Maybe they represent greedy record producers that profited off of Black music and screwed over many Black musicians.

The reason the guy that unloads a gun at them is unable to hit them is because legends of music can never die and will be around forever. Jules realizes this and realizes that he is fighting a pointless fight. Pumpkin and Honey Bunny happen to be British and they also try to take the briefcase. They represent the British Invasion. The British Invasion was completely influenced by the blues and older pop music. Jules lets them leave with the money, but keeps his "Bad Mother ******" wallet. (They can steal and be influenced by the older music, but they can't take a legends style. They have to come up with their own style.) Jules even mentions that he is trying real hard to be the shepherd.

Butch is introduced as a boxer being told by Marcellus to throw a fight. Butch represents new and interesting rock music that continues to come out and Marcellus doesn't like this. Butch doesn't throw the fight and runs away. They both get captured by rednecks while a country song is playing. The rapists represent country music. Country music also stole a lot from the blues and other Black music. This is shown by them raping Marcellus. Butch has a chance to escape but decides to go back and save him out of respect. Marcellus agrees to let Butch live and they truce and go separate ways. Marcellus accepts that there will always be new music and there's nothing he can do to stop it. The watch represents that as time moves on, more new music will continue to be made and they will all be influenced by what came before them.

EDIT: I probably should have originally put this here instead of a comment. I originally posted this on r/truefilm under my old username. I made a comment below and replied to it with my old username in less than a minute.

Click to expand...

HoldenFinn  2014 points
7 hours
 ago
*
Vincent dies in the bathroom like Elvis.

Click to expand...

a_tron  663 points
7 hours
 ago

Ms. Wallace must be disco then.

MelodyJacobs  163 points
7 hours ago
Warm...warmer...disco!

Click to expand...

maxwell_stupid[S]  473 points
7 hours
 ago

Maybe she represents the American fascination with the British invasion. The young women of the time worshipped these bands.

Click to expand...

jpfdeuce  209 points
7 hours
 ago
*
Pumpkin, aka Ringo.

Click to expand...

dankenstien88 said:

OP on reddit stole this from 4chan.

Some people suspect Tarantino himself was actually the OG OP since Django is coming out in a few days.

Doubt it.

Click to expand...

DCAllAmerican said:

Ant,
Don't feel bad. I don't think I have seen it in it's entirety either.

Click to expand...

JTPlatnum said:

enjoyable read/theory.

i'm always fascinated by peoples imagination and being able to come up with this stuff...

tangent, there's a whole movie dedicated to the conspiracy theories surrounding kubrick's 'the shining' - it's called 'room 237' - i haven't seen it but it looks interesting.

Click to expand...

The real Ezekiel 25:17 doesn't go like that. This is the one Tarantino made up (or, rather, lifted from a Sonny Chiba movie), meaning that it could only have come from the universe of Pulp Fiction (or, again, Sonny Chiba, which in all fairness wouldn't be any worse of an outcome). Ergo, Nick Fury, the super spymaster with a mysterious past, is actually Jules, Sam Jackson's hitman character that finishes the movie heading toward an uncertain future, away from a life of crime.

The nice thing about this theory is how neatly it would fold Tarantino's famously interconnected movies and the MCU together. They're both already cartoonish, violent universes where heroes and over-dramatic villains reign supreme. Even their "origin stories" fit: In the first Captain America movie, Cap goes in the ice in 1943, taking Red Skull out of the game in the process. Supernatural elements now removed from the war, Lt. Aldo Raine and his Inglourious Basterds cohorts are able to gun down Hitler in 1944, an event we once pinned as the starting point of the Tarantinoverse. If we accept this, the first MCU superhero-villain confrontation might actually have happened in Pulp Fiction. Remember Ringo, the diner robber who displays strange interest in Marsellus Wallace's mystery briefcase that Jules lugs around at the time? Jules knows full well what's in the case. He shows the guy.

View media item 2076012

What if the briefcase never actually contains the diamonds from Reservoir Dogs, or Marsellus Wallace's soul, or whatever the top theory is these days? What if it contains one of the infinity stones MCU so loves to throw around? Maybe that is Jules' real reason for getting out of the hitman game: "Dang, I probably should do something about the fact that we live in a world where people like John Travolta can haul around planet-destroying alien weapons in a Samsonite." So he goes off to become a universe-protecting hero while our friend Ringo ends up becoming a second-string Hulk as Emil Blonsky's Abomination in The Incredible Hulk. And we have Tarantino to thank for the whole thing.

Click to expand...