As the action gets closer and closer, Tarantino uses music and background noises to enhance the intensity of every conflict, like Sergio Leone used to in his spaghetti westerns. This camerawork perfectly echoes the elongated visual fluidity of Brian De Palma, a master of suspenseful filmmaking. Before a massive fight scene, we receive a long tracking shot, which gives us an uninterrupted view into the environment. He understands that the buildup of an action scene is just as important as the physical conflict itself. Kill Bill: Volume 1 marks Tarantino’s foray into action moviemaking, and boy does he deliver. I can only hope that these foreign performers will intrigue western viewers, pulling them into the hypnotic domain of eastern cinema. Liu fits right into this environment, giving the flick an enlarged dose of style and physicality. Gordon Liu, a Chinese legend, plays Johnny Mo, the leader of O-Ren’s personal army, the Crazy 88. As Hattori Honzo, Sony Chiba, a Japanese legend, imbues the role with an abundance of wisdom, pain, and weariness. The supporting male roles are wonderfully presented. She plays Sofie Fatale, an intellectual woman filled with bilingual and lawyer expertise. Lastly, we have Julie Dreyfus (a French actress). Kuriyama chews up the scenery as a young, enigmatic warrior, and in the third act, her skills are on full display, whether it be interpersonal language or physical maneuvers. There is Chiaki Kuriyama, who portrays O-Ren’s henchman, Gogo Yubari. During the climax, she battles Thurman to the death, in a setting that resembles Toshiya Fujita’s “Lady Snowblood” (1973). In a role that is extremely over the top, Liu plays it completely straight, giving us a memorable villain who always means business. Like Thurman, Liu fits into an archetypal role often tailored for men, and she does a wonderful job. Lucy Liu, an Asian American actress, wonderful portrays the character of O-Ren Ishii, a leader amongst men. Fox, with her swagger and forceful language, possesses Pam Grier-like sass, properly contributing to a well executed fight sequence and an intriguing conversation between foes. At the onset of the film, we walk into a world that resembles blaxploitation cinema. Fox, a talented African American actress. Next, we have Vernita Green, portrayed by Vivica A. She represents the importance of being completely in the moment, telling women everywhere that circumstances can be altered through the prism of intellectual resolve. In other words, when she is pushed to the brink of death, she quickly adjusts, gaining the upper hand in the darkest of moments. Her most memorable moments come from the reaches of vulnerability. But overall, the Bride’s resolve stands out. Watching her cut through corrupt opponents is extremely exciting. Still from Kill Bill: Volume 1Ĭlearly, everyone loves the Bride’s formidability. When these scenes transpire, Thurman’s commitment to stunt work ups the visceral ante of each fight sequence, pushing the film into a state of exceptional practicality. Other times, her viscous individualism sets the groundwork for ensuing set pieces. At times, her genuine charm permeates specific frames, ushering in further levels of empathy. Thurman’s icy yet charming performance is a sight to behold. As she takes out these opponents, she gets closer and closer to her final target, Bill, the man who set this violent scenario into motion.īest of all, Tarantino’s film is a celebration of female formidability and foreign inclusiveness. Consumed by vengeance, she embarks on a journey that will pit her against former comrades. Four years later, she awakens from her long slumber. After being beaten to a pulp and left for dead at her wedding rehearsal, the Bride (Uma Thurman) lies in a comatose state. Of course, Kill Bill: Volume 1 falls into the revenge movie sub-genre.
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