![]() It also explains the slightly-more-than bodyguard relationship she seems to have with O-Ren – but that’s a conversation for another time. If Gogo were a legal adult, portraying herself as an innocent schoolgirl is a clever fear tactic that could help her blend into daily situations, potentially doubling her role as an infiltrator. I personally love this theory as it makes more sense to me thematically and practically. This infographic should help you keep tabs on the story. This would make the original massacre take place in 1999, the Bride would wake up around 2003, and kill O-Ren the same year. All of the film’s wiki-pages also center around this year, making it a reliable point-of-reference for Tarantino geeks on forums. There’s no confirmation on exactly when the film takes place, but it’s generally assumed to be around 2003, the year of release. Since we’ll only be discussing the first film, we only care about chapters 3, 2, 4, 5, and 1 – in that order. 1 and 2) are told as such:Ĭhapter 5: Showdown at the House of Blue LeavesĬhapter 8: The Lonely Grave of Paula Schultz When laid out chronologically, all ten chapters of Kill Bill (vols. By the time she tackles O-Ren, we feel as if we know her story as if we’d experienced it first-hand ourselves. The rest of the film is told in a variety of flashbacks peppered with present-day ruminations as the Bride provides us with the details of her betrayal and quest for revenge. ![]() However, on my first watch-through in years, I spotted a plothole – small and insignificant – but enough to gnaw at the back of my mind for the rest of the film and every other watch-through since. While I was still too young to fully grasp the story, I knew I’d witnessed something unlike anything else and made a note to watch it again when I got older.Īfter studying screenplay structure, I began dissecting all of my favorite films with a critical eye and this one was no different. Memories of my first watch-through were full of shock, awe, admiration, and confusion. Despite being only twelve at the time, I was never an impressionable child and she agreed that I was mature enough to watch it if I wanted to. ![]() One day, I came across the DVD and begged my mom to let me watch it. A few years later, I became more passionate about filmmaking and went to my local Blockbuster (remember those?) every day after school. Fox or clad in her iconic jumpsuit and staring down the Crazy 88 in the reflection of her katana were forever seared in my memory. Images of Uma Thurman squaring up against Vivica A. Despite my young age, I was aware of the adverts and interviews playing non-stop throughout my final year of elementary school, enough to understand just how monumental the film was. Luis Bacalov's “The Grand Duel (Parte Prima)” is fittingly melodramatic for this story, as is Zamfir’s campy panflute cover of James Last’s “The Lonely Shepherd,” which sounds like the theme song to The Good, the Bad and the Ugly.I still remember where I was when Kill Bill: Vol. Where Tarantino’s past soundtracks abounded with twangy surf guitar songs, here he leans harder on the Ennio Morricone–inspired spaghetti western instrumentals to capture a classic gunfighter vibe. Similarly, Charlie Feathers' rockabilly boot-stomper “That Certain Female” perfectly taps into the cocksure swagger of antagonist Bill (played by David Carradine). ![]() And there’s really no better way to set the tone than by opening with Nancy Sinatra’s torch song “Bang Bang (My Baby Shot Me Down).” Sinatra’s haunting version of Sonny Bono's song might lead the listener to believe that Tarantino based the plight of his protagonist bride (played by Uma Thurman) on this song’s riveting narrative. But it’s his carefully curated soundtracks that tell a story within the story. The moral of the story in Quentin Tarantino’s film Kill Bill is simple: there’s nothing like revenge. ![]()
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