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Kill Bill Vol. 1
One thing I really hate are epilogues. You know
the sort of thing, almost like an afterthought to tie everything up
with a neat bow. At best, they're an annoyance, that can be forgotten
with a bit of perseverance so as not to ruin your memories of an
otherwise perfectly good movie (such as the last 20 minutes
of A.I). At worst, they leave such a bad taste in your mouth that it's
hard to forgive the preceding movie for taking you along for the ride
(such as the 'trailer' for The Matrix Revolutions at the end of this
summer's 'Reloaded') Why am I talking about epilogues? Because 'Kill
Bill' has the best epilogue I've ever seen. But wait, I'm getting ahead
of myself...
For Tarantino's fourth directorial outing, the
notoriously anal film fan originally decided to make his own version of
the martial arts movies made famous in the 1970's. However, QT being
QT, nothing is ever quite that straightforward and we are left with a
blistering mix of cinematic styles as Uma Thurman's nameless central
character ('The Bride') seeks revenge on those who left her and her
unborn baby for dead on her wedding day. In fact that act
itself gives us the single most disturbing pre-credits sequence in
cinema history, a real wake-up call that serves to sort the wheat from
the chaff - if you find the first 30 seconds hard to stomach, go and
ask for a refund because things are only going to get bumpier.
Yes, it's a violent movie, but it's a violence
very rarely seen on screen. Take the opening fight between Thurman and
Vivica A. Fox. It's unbelievably fast - not in a superhero sense - but
in a desperate, all or nothing sense. It reminded me of the opening
rounds of those classic fights between Sugar Ray Leonard and Marvin
Hagler in the 1980's. Desperation, drive and a tinge of fear all thrown
into the mix. It's not about glory, or slow motion knockouts, it's
about getting a job done. And then Tarantino screws with us again, the
action stops before exploding again and then, before we've really found
the movie's rhythm, he's off again, taking us to a flashback to flesh
out the backstory.
Fractured timelines have become something of a
standard since 1994's 'Pulp Fiction' so QT has decided that he wants to
reclaim the land as his own. We get flashbacks within flashbacks (one
origin story is even told purely in a Manga-style animation) and, oddly
enough, when the movie ends we are actually left at a much earlier
point in the narrative than we were after the opening credits. But it
never feels forced and it doesn't ever presume to be cleverer than it
actually is. And the reason is simply this - Quentin
Tarantino is one hell of a clued up movie buff. If he wants to make a
scene a homage to 1970's martial arts flicks, he knows everything there
is to know about them - right down to hiring the right cinematographer
to get the right look and feel. For example, much has been made of
Thurman's yellow jumpsuit being a replica of Bruce Lee's in 'Game of
Death' but that's merely the most obvious movie reference on
show. Check out the tune Darryl Hannah is whistling as she's sauntering
through the hospital to finish Thurman off - that's not a coincidence.
Tarantino knows what he wants and, more importantly, he knows exactly
how to get it. As a result, he has an absolute ball of a time and
delivers probably the most action packed movie of the year. Forget
'Reloaded's CGI-filled brawl between Neo and the Agent Smiths - check
out the climactic battle here as 'The Bride' takes on scores of black
suited, masked Yakuza assasins (and just where did QT get the idea
for that look from?). Armed with nothing
more than a samurai sword and some subtle wire-work, 'Kill Bill' makes
the millions spent on 'The Matrix' sequels seem like a bit of a waste
of good money.
And then, just when you're really getting into
the whole revenge vibe, the film ends. Miramax have famously split this
movie in half so we end up with a 'Vol.1' this side of Christmas with
'Vol. 2' rolling around next February. However, as cynical a marketing
ploy as it no doubt was, it actually works in the movie's favour,
thanks to the epilogue I mentioned at the start. Whatever you do, when
you watch this movie do NOT leave the cinema as soon as the credits
begin to roll. The final line (if not the final word) of dialogue
spoken in the epilogue changes everything you've
just seen and by the time you do leave the mulitiplex, February 2004
will seem a very, very long way away indeed.
*STOP
PRESS*
Important
addendum - I've just had it confirmed that the 'epilogue'
now forms part of the main feature, as opposed to occurring part-way
through the credits as was the case in the version of the movie that I
saw. Good move on the part of QT - anybody who hasn't seen
that last minute or so hasn't really seen 'Kill Bill Vol. 1' at all!!
*STOP
PRESS*
9/10
Sean
G
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