At the same time, she is fundamentally different, compelled by the loss of her baby and gender-specific violations that lead to precisely calculated paybacks, haunted by regret even as she exacts her justice. While her rhythms are surely accelerated, the Bride recalls the Man With No Name, in anonymity, reluctance, and relentlessness.
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Even if the rationale sounds self-serving, the point is raucously illustrated in Kill Bill, which features one “explosion” after another (limbs hacked off, blood gushing, heads soaring through the night air) this series of climaxes is punctuated by occasional, exceedingly delicate pauses in the action, as well as and RZA’s perfect, sinuous score. And that’s why you go to an action movie, to thrill to the art. That’s why you go to the symphony” (November 2003). And when the symphony builds up to a certain point, it explodes.
Tarantino explains it to Vibe‘s Harry Allen: “An action sequence well done on film is like listening to a symphony.
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This combination of elements - sensational women and sensational violence - results in a loopy, bricolagey vision that does occasionally hurt.Īs its title announces, the new movie is knowingly, gloriously violent, a series of fight scenes functioning as dance numbers in a musical - they build as much character as the film will allow. If Tarantino identifies with his girl protagonists (he tells the New York Times‘ Mim Udovitch, “It just hurts more to see two women fighting”), he also famously fixates on fundamental genre conventions (spaghetti Westerns, blaxploitation, kung fu, grindhouse), as these produce expectations and visceral pleasures. While it invites you to link Bill with the maestro QT, to see similarities in their campy malevolences, Kill Bill doesn’t so much preempt criticism as overdetermines it. “Do you find me sadistic?” he asks, then asserts, “There is nothing sadistic in my actions… This is me at my most masochistic.”Ĭut to opening credits: “The Fourth Film by Quentin Tarantino” (in case anyone’s keeping count). Bill (mostly off camera, his hand only visible) leans down to wipe her cheek, tenderly. She first appears - following an epigraph that seems cute, but also lays out the film’s aesthetic and thematic focus (“Revenge is a dish best served cold - Old Klingon proverb”), in a tight black and white close-up, her face bruised and welted, slick with sweat and blood. The Bride is alternately a hard case and vulnerable, cunning and exquisite - as each of these attributes are connected, both in girls’ myths and girls’ experiences. Just what you’ll be feeling is up for grabs.
Granted, the concept is as abstract and pretentious as any Tarantino has conjured, but in practice, Thurman is so utterly physical in her every moment on screen that you can’t help but feel for her. Indeed, the Bride is offered as a kind of essence of cinema, the vital baseline of vengeance, meticulous brutality, balletic violence, and urgent, endless tragedy. That is the plot and that is her character, distilled and intangible, singular and unfathomable. The Bride has awakened from a four-year coma, and spends the duration of Kill Bill hunting down and killing her enemies.
You know Bill tried to kill her in Texas, that she was pregnant at the time, that it was her wedding day. 1, that she used to be called Black Mamba, back in the days when she killed for Bill (David Carradine), as part of a crew called the Deadly Viper Assassination Squad (DiVAS). You do know that she’s the number one killer in Kill Bill Vol. You don’t know the name of the Bride (Uma Thurman).
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