>I'm I the ONLY one who see's QT's movies as just REALISTIC?

>I mean, when a group of "working-class"/lower-class white
>criminals get together...yes, they'll PROLLY drop the N-word,
>but will still fantasize about a fine Black chick, period.
>
>The dialogues aren't indepth commentary into socio-babble.
>WTF?? The shit is realistic entertainment, albeit creative.

As I said in a post above, the dialogue in Pulp Fiction is realistic because it's not burdened with driving the plot, it's normal conversation, with normal conversational jokes. And as for the content, what better reason to include something than because it's realistic? Vince has a good working relationship (lol) with fellow hitman Jules and boss Marsellus, but he also has a good customer-dealer relationship with a racist heroine vendor ("Am I a nigger? Is this Ingelwood? Discerning white folks know..."). A middle class white guy feels OK to use the N word because he has a black wife, so he's down. Various other couples are deliberately set up to be interracial but seemingly without their being a COMMENT on this... maybe because that's just the way things ARE. And Crouch says this in his essay - "a relaxed integration" that's not "the customary racial cliches that thud upon the screen" and "soapbox oratory."

However, just because the conversation is realistic, doesn't mean it's superficial

>C'mon, 2 hit men talking about foot massages? WTF is the
>inner-racial GOING ONs here?? NOTHING...the answer is
>nothing.
>

here for example, foot message discussion does not have anything to do with interracial goings on (Crouch never said it did. the interracial theme isn't the only point he has to make about PF. i find his other points more interesting), but there's still a deeper purpose.
1. it sets up the scene after next which opens with a shot of Mia's foot, just like the scene that came before sets up the scene that comes next by talking about burgers, and this goes on like dominoes for the entire film. There isn't necessary any great meaning in this, but it helps us follow an otherwise twisting narrative

2. A great deal of the dialogue, particularly Vince's, is concerned with values/morals. It starts off talking about the "little differences" like the metric system, then about degrees of licentiousness (the foot massage), then about common decency ("you don't fuck with a man's car"), integrity (when he calls Willis "palookah") responsibility ('shit, I just shot Marvin in the face. Hey, it was an accident!'), until finally Vince is inhabiting two moral sytems at once (saving Mia's life, or just saving his own skin)

and trivial conversations with deeper or metaphorical meanings aren't new in Tarantino films. ResDogs opens with a discussion of Like a Virgin because a)everyone's about to get fucked and b)these hardened criminals are about to learn fear, panic, vulnerability all over again

>Longo is right...pop culture causes racial barriers to overlap
>sometimes? Duh. Double duh.
>

well, it's something "the Lesson elite" love discussing and archiving
and most films don't treat this issue intelligently, or even seem aware of it

>Crouch is acting like Taratino is taking notes at the fuckin
>Trilateral Commssion for his flicks. I can't count how many
>times random comvos between me and friends (a MULTI-RACIAL
>CAST!! It must've took some DEEP soul-searching for me to
>actually relate to this motley crew of...normal people I
>happen to have convos with), havd me thinking "this could be a
>dialogue from a _____ film.
>

I remember saying to my friends once when conversation had gone stale "we need to elevate our dialogue, to Reservoir Dogs level" to which someone replied 'that took months of writing and polishing, I don't think we're quite there' and the truth is Tarantino has a gift for putting conversational dialogue in his films that actually resembles real conversation, but this is a positive thing, and it doesn't mean there's not a great deal of craft involved