|STILL TODAY KILL BILL VOL 1 CUTS TO THE QUICK |
“ Revenge is never a straight line. It’s a forest. Like a forest, it’s easy to lose your way, to get lost, to forget where you came in . the bride who is ready to get their revenge , come in a forest but never loses her way . Maybe sometimes she gets blind in love . but her path is exact, it is planned, it is memorized. It is impossible for her to get lost . she is a victim hero .
In Kill Bill Vol. 1, there is a pregnant woman, Beatrix who is shot at her wedding rehearsal day, first by the assassination team of which she used to be the member. Then the leader of that team, Bill, is also her exboyfriend, shoots her in the head. After a four-yeared comatose, as she says in the film “she woke up, she went on what the movie advertisements refer to as a ‘roaring rampage of revenge’, she roared, she rampaged” and she continues that “I got bloody satisfaction.” Here comes the ‘pleasure’ of giving harm, torturing and killing her assassins. Bill asks “Do you find me sadistic?” to Beatrix, but in fact she is the sadistic figure in the film. Bill makes Beatrix confirm that “she felt damn good, after all the people she killed to get to him. Because she is a killer.
Quentin Tarantino’s this film is a complex but good example for the ‘male gaze’ . He choses a female protagonist. She is victimized in her wedding dress, carrying a baby, is shot in the head by the father of her baby, after a four-yeared comatose, she wakes up and sees that she has lost her baby. Then she plans to get her revenge from Bill. Bill is the unseen antagonist of the film until the vol. 2. In the first look, this story may seem as a pure feminist story. What can be more affective than the revenge of a pregnant bride, shot in the head by her baby’s father? This might be a powerfull, strong, reborn woman’s revenge and might get applause from the feminist spectators. But after the analysis of the film, some crucial points reveal the male gaze in the film within the characters in the narrative and within the director’s point of view.
Tarantino depicts the ensuing bloodbath with a mixture of color and black and white, which not only adds a stylistic flourish but probably helped the film secure an R rating. The slicing-and-dicing is at once ludicrous and lyrical, and it crescendos into an orgy of flying limbs and ruthless swordplay. The wall-to-wall bravado, which sneaks in moments of dark humor and even a spanking, displays a master filmmaker working at the height of his ability. Some might call it excessive, but from where this reviewer is sitting, few action movies of the 2000s gave the genre a more satisfying shot in the arm.
The soundtracks are as eclectic as Tarantino’s bottomless cinephilia. Perhaps the best example of the wide-ranging cinematic and musical inventory existing inside Tarantino’s imagination is Kill Bill Volume 1 (2003).
The Kill Bill Volume 1 soundtrack comprises tunes from old movie and television scores, including American pop songs, Japanese instrumental rock, a bit of German rock, and some hip-hop. This was also the first time Tarantino began sourcing snippets of movie scores from spaghetti Western, Blaxploitation and martial arts films.
First in the track list is Bang Bang (My Baby Shot Me Down), Nancy Sinatra’s melancholic cover of Cher’s hit song from 1966. The song appears over the opening credits, right after a scene that reveals that Uma Thurman’s bruised and bloodied Bride is shot by Bill (David Carradine), her lover and the father of her child. There couldn’t have been a louder bang to start the film with.
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