Brilliantly put Edward O'Neil. I do think every little detail in a responsible and authentic movie is there for a specific reason, even when it's just absurd. I think the comments on race and sex and relationship between lovers and relationship between boss and subservients are a representation of a moral and social dynamic reflected on many aspects of reality. If somebody can't read Tarantino's comments on maleness, they probably can't understand either his comment on black/white American conflict on the scene of the rape. Who didn't know that the southern white security guard (friend of southern Zed) would pick Marcellus? Gimme a break fellas... Rape is violence not sex, but this violence comes from repressed sexuality on the violator's part. Therefore I believe in the intension (counscious or not, it's art) of the director to comment on the many repressed - in the closet - homossexuals that become homophobics/psycho rapists as an insane tentative to repel "the evil beast" that they carrie inside. I mean, rapists are loosers of their own sexuality. Pulp Fiction is extremely effective. The importance of the non-linear narrative to sustain the movie's rhythm is crucial to show that the Director used the basic cinematographic technique to his advantage. Tarantino created a tension in the audience by his excellent rhythm (on the best school of Hitchcock, Jarmush and Wenders), specially because he dealt with death and fear of death. Something that pulses in our deeper essence. He's a stylist Director that gives "humanity" to human violence which makes all very mind blowing (who laughed when Travolta's character blew the head of the guy up in the car?). Claudio Fernandes - - - - - - - - - - - - - - - - - - - - - - - - - - - [log in to unmask]