The Spaghettiest of them all “Revenge is a dish best served cold”. Kill Bill: Volume One is a clever and slick rape-revenge, terrifically tying together film genres from Italian spaghetti westerns, Japanese Samurai movies and Hong Kong martial arts flicks. Quentin Tarintino is back. It’s been seven years since the release of ‘Jackie Brown’ and boy does he makes an impact. Once again Tarantino has managed to bring back the once popular film genres and effortlessly apply them in a modern masterpiece.
Four years have passed since a wedding day bloodbath. We know the “yellow haired warrior” as “The Bride” (her real name is bleeped three times). She is the only survivor of the massacre that took place in a lonesome chapel in El Paso, Texas. After skipping town to get married, the bride’s assassination attempt was ordered by her former boss, Bill and undertaken by his employees, The Deadly Viper Assassination Squad.
After awaking from her coma The Bride goes on a bloodied path of revenge, getting even with her former colleagues that had nearly killed her. Thurman teams up with Tarantino once again and doesn’t fail to impress following after her convincing portrayal of a zoned out mafia’s girlfriend Pulp Fiction (1993). It seems Thurman was born to play the limb-slicing assassin, demonstrating superior dexterity wearing the familiar black striped yellow tracksuit and matching tiger tennis shoes, iconic from the 1973 Bruce Lee film ‘Game of Death’.
Lucy Liu plays the notorious head-detaching leader of the yakuza and former member of the DVAS, O-Ren Ishii. Lets just say that we wouldn’t of believed Liu to be capable of playing such a violent and sadistic character after films such as ‘Charlie’s Angles’. It’s rare to see a ruthless mafia boss in a Kimono while wiping the blood off her sword. Yet another attribute Q. T. plays with utter conviction and believability in the character.
The ‘tear the bitch apart’ action sequence (where The Bride confronts O-Ren Ishii) the incredibly violent and graphic visuals had to be in monochromatic black and white because it would breach the R rating for American audiences. A stylistic change Tarintino had to make to the 30-minute action sequence. Perhaps this is a good thing as all that crimson spurting out of those bodies was starting to have a numbing effect. Quentin Tarintino’s Kill Bill: Volume One is without a doubt all about the action.
After all, when it comes to Tarintino the action will always come before the drama. You can see The Bride’s blood desired revenge in Thurman’s eyes who’s performance is nothing short of mesmerizing. With a juxtaposition of genres so elegantly combined this film is something you can really jab your samurai into. I would recommend this film to anyone who’s a sucker for any Tarintino film. Tarintino’s best yet? – I’ll let you decide, however this cereal crunching, whistling joyride and shocking scarlet splurge will leave you in as much anticipation for Volume Two as I am.