Of course both parts of kill Bill are actually one movie so I take the liberty referring to both parts emphasizing on part 2.
I like this movie so much because I can see no compromise, no hollywoodization, not a shred of it. Tarantino remains faithful to underground and indie movie making, but the photography and sound are both impeccably done and of the finest quality.
I love the wackyness of it. I already screamed laughing - in a happy way - when I saw the opening of Volume 1. A typical early 1970s title card saying "feature presentation" together with low quality distorted and whining (due to worn out machinery and prints that happened sometimes) trashy period music which ends with that typical noise coming from poor splices in optical sound tracks which were still widely used until a short time ago. The timing of this bit is so well done that we can expect that everything that follows during both parts will be that good. It is.
Tarantino trashes and loves every material at the same time. The choice of music is impeccable ranging from James Last/Gheorge Zamfir 1970s elevator muzak to these shrill synthesizer sounds used in 70s Kung Fu flicks. The Japanese female 1950s style rock 'n' roll band is too good to be true.
I don't know how Tarantino and his editor make it but the editing is just perfect. This is a mix of tempos, styles and lighting that probably violates all rules ever written - and it works. Tarantino did't fall in love with camera gimmicks though. Yes there is that typical 1970s fast zooming-in complete with the sloppy focussing, but Tarantino uses it very sparingly and more controlled. The whole two part movie also has us thinking about our own taste. We have to admit that secretly we like many thinks about what is officially considered bad taste. Not all of it that is.
I also like the fact that it is not Thurman herself disposing off Michael madson the stip club bouncer and the typical loser,loner,cowboy. He is too much of an American icon, also: except for Bill himself this is all about women. The story finds a great way to kill off Madson.
Of course the movie only works because of Uma Thurman. Tarantino practically constructed the movie around her. She is the movie. Thurman can be arrogant and deeply hurt at the same time, she is pure eye candy yet she has that edge necessary for her role. No matter how much of a superhero and ruthless killer she is, the moment where she is reunited with her daughter works completely. The trash movie spoof is lifted for a moment and her weeping and screaming of pure joy and relief in the bathroom for a moment is genuine - just as some few moments during the movie were such as when she was buried alive and tried to get out, but that still was within an absurd surreal context. Maybe Tarantino was trashing the movie "The Vanishing" in a way: that's what Kiefer Sutherland should have been doing...
Anyway it shows how much Tarantino controls the level of reality/absurdity and spoof. Nothing is left to chance.
I like the way the genuine tenderness is maintained during the end titles which are done in early 1950s style complete with period lettering and back projection plate, all in black and white. The level of spoof/trashing is only mild here and the mood remains happy, yet with a winking eye (literally BTW).
This is not made by someone greedy or full of himself. This is brilliant who loves movies with style. I like the fact that Tarantino never tries to be intellectual or artsy. He remains firmly in his own wacky world close to Sergio Leone's.
I wouldn't change one frame in any of the two Kill Bill parts.
I like this movie so much because I can see no compromise, no hollywoodization, not a shred of it. Tarantino remains faithful to underground and indie movie making, but the photography and sound are both impeccably done and of the finest quality.
I love the wackyness of it. I already screamed laughing - in a happy way - when I saw the opening of Volume 1. A typical early 1970s title card saying "feature presentation" together with low quality distorted and whining (due to worn out machinery and prints that happened sometimes) trashy period music which ends with that typical noise coming from poor splices in optical sound tracks which were still widely used until a short time ago. The timing of this bit is so well done that we can expect that everything that follows during both parts will be that good. It is.
Tarantino trashes and loves every material at the same time. The choice of music is impeccable ranging from James Last/Gheorge Zamfir 1970s elevator muzak to these shrill synthesizer sounds used in 70s Kung Fu flicks. The Japanese female 1950s style rock 'n' roll band is too good to be true.
I don't know how Tarantino and his editor make it but the editing is just perfect. This is a mix of tempos, styles and lighting that probably violates all rules ever written - and it works. Tarantino did't fall in love with camera gimmicks though. Yes there is that typical 1970s fast zooming-in complete with the sloppy focussing, but Tarantino uses it very sparingly and more controlled. The whole two part movie also has us thinking about our own taste. We have to admit that secretly we like many thinks about what is officially considered bad taste. Not all of it that is.
I also like the fact that it is not Thurman herself disposing off Michael madson the stip club bouncer and the typical loser,loner,cowboy. He is too much of an American icon, also: except for Bill himself this is all about women. The story finds a great way to kill off Madson.
Of course the movie only works because of Uma Thurman. Tarantino practically constructed the movie around her. She is the movie. Thurman can be arrogant and deeply hurt at the same time, she is pure eye candy yet she has that edge necessary for her role. No matter how much of a superhero and ruthless killer she is, the moment where she is reunited with her daughter works completely. The trash movie spoof is lifted for a moment and her weeping and screaming of pure joy and relief in the bathroom for a moment is genuine - just as some few moments during the movie were such as when she was buried alive and tried to get out, but that still was within an absurd surreal context. Maybe Tarantino was trashing the movie "The Vanishing" in a way: that's what Kiefer Sutherland should have been doing...
Anyway it shows how much Tarantino controls the level of reality/absurdity and spoof. Nothing is left to chance.
I like the way the genuine tenderness is maintained during the end titles which are done in early 1950s style complete with period lettering and back projection plate, all in black and white. The level of spoof/trashing is only mild here and the mood remains happy, yet with a winking eye (literally BTW).
This is not made by someone greedy or full of himself. This is brilliant who loves movies with style. I like the fact that Tarantino never tries to be intellectual or artsy. He remains firmly in his own wacky world close to Sergio Leone's.
I wouldn't change one frame in any of the two Kill Bill parts.