#ShunSugata

[doomonfilm]

Favorites : Kill Bill Vol. 1 (2003)

I love martial arts movies.  I love revenge films.  I love the films of Quentin Tarantino.  I’m pretty sure this is why sometime in 2001 or 2002, when I heard the news of Kill Bill being in the development stages, I knew I was in for a treat.  The premise sounded strong, the cast connected to it at that time was already stellar, and Tarantino was hitting a stride unparalleled in regards to his creative abilities and box office draw.  Needles to say, Kill Bill Vol. 1 hit the general viewing public like an atomic bomb, firmly cementing Quentin Tarantino as a legend.

B------ (Uma Thurman) is dead set on revenge after being left for dead by her former lover Bill (David Carradine) and her former team, the Deadly Viper Assassination Squad.  After recovering from being shot in the head by Bill, B------ revives her Black Mamba (former code name) mentality in hopes of crossing names off of her literal kill list.  (NOTE : due to the serialized format of the Kill Bill saga, Vol. 1 focuses on Black Mamba’s recovery, her search for a sword crafted by legendary smith Hatori Hanzo (Sonny Chiba), and her encounters with Oren Ishii (Lucy Liu) a.k.a. Cottonmouth and Vernita Green (Vivica A. Fox) a.k.a. Copperhead).

To use a cliche phrase I use more often than I’d like, this film really hits the ground running... it is jarring from the start, and it never truly lets up to breathe, only to readjust.  Quentin Tarantino was clearly running on high cylinders in terms of style and inspiration during the production of this movie, as it has some of the most focused and intense energy found in any of his films.  Ultimately, what we’re given is a high-voltage mix of revenge thriller and ‘lone-wolf, lone-cub’ setup story.  The highest respect and regard to history is shown to the martial arts film genre, including a beautiful nod to Bruce Lee’s iconic outfit from Game of Death during the go-home section of Vol. 1. 

Again, there is an infectious energy found in all aspects of this movie, from the diversity of cast down to visual and sound design.  On top of this, there is an amazing plethora of locations and sets, which expands the world of the film, and by proxy, the lore, as the entire presentation comes off as larger than life.  Despite the non-linear presentation, the raising of stakes plays in a very linear nature (minus the initial shooting prior to the opening credits).  The sequence leading up to and including the Crazy 88 is easily some of my favorite filmmaking I’ve ever witnessed.

Amazing choreography and use of environment is found in every combat scene, thanks to the work of legend Yuen Woo Ping and his team.  Like and Tarantino film, there is plenty of humor to be found, even in the most tense moments.  A completely mind-blowing animated sequence emerges from thin air, but helpfully desensitizes the presentation of otherwise problematic subject matter in the form of gratuitous violence and pedophilia found in the backstory of Oren Ishii.  Like the many locations, there is an impressive variety and implementation of weapons to also be found and enjoyed.  Tarantino manages multiple musical reappropriations of material connected to other properties that perfectly help set tone or pace scenes.  Several breathtaking camera moves and cuts are present, many of which are overshadowed by the pure spectacle of the film as a whole.

Uma Thurman’s commitment to both the glorious and the less than flattering aspects of the role completely sells the film, making it impossible to not find a connection to her character or the motivation for her journey.  Vivica A. Fox helps thrust the movie forward with matching motherly energy, proving herself to be dangerous while validating Thurman’s character’s abilities.  Lucy Liu embraces her boss role, carrying a dignity and quiet ferocity she’s always let boil under the surface in past roles.  Gordon Liu shines as the boss prior to the final boss, setting us up for a wonderful dual-role payoff in the following film.  Chiaki Kuriyama nearly steals the show as the sadistic and vicious Go-Go.  Sonny Chiba continues his string of roles as the wise and inspirational legend, continuing to help blur the line between the man and the myth, with plenty of wonderful support from Kenji Oba.  James and Michael Parks bring a natural connection to the screen that permeates, making their brief appearance one of the most memorable.  The restraint with which Tarantino uses David Carradine, Michael Madsen and Daryl Hannah in Vol. 1 sets them up perfectly for larger appearances in Vol. 2.  Julie Dreyfuss, Ambrosia Kelly and The 5.6.7.8′s also make special appearances. 

As wonderful as Kill Bill Vol. 1 is, it is honestly only half of a film, if taken at face value.  I always found myself bothered when people would refer to this as ‘the better movie’, as this film is only the inciting incident, main character background and rising action of what would be a complete story.  It is for these exact reasons that I cherish both films, and I secretly wish for there to be a Criterion Collection Director’s Cut one day, where Quentin Tarantino restores his original vision and unites the films as one.