Kill Bill Thesis

Revenge fuels the engine that drives “The Bride” in Quentin Tarantino’s ultra violent thriller, Kill Bill. In this critically acclaimed film, a clouded focal point steers the leading lady down a murderous path to avenge the attack of her wedding party. Her hit list is occupied by a group of people known as the Deadly Viper Assassination Squad, and specifically aims to kill her ex lover, Bill – the mastermind behind it all. Tarantino uses a combination of surrealism and extreme violence in this film, as well as others, like Reservoir Dogs and Pulp Fiction, to accentuate the ruthless behavior of a man with power, and the agony he is able to impose on someone who falls under the category of a lower social class. The story of “The Bride” in Kill
Bill strongly exemplifies Tarantino’s filmmaking style supporting his commentary on men in positions of power and his opposition to traditional realist thinking. Additionally, there is an obvious presence of thematic and stylistic devices that create an unusual yet aesthetically pleasing visual for the audience. This, plus the use of animated graphics and optical effects, compels viewers to further analyze the film. Similarly, a series of anomalous characters help develop the plot as each individual contains such odd, formidable, and discernable characteristics. It is the blend of all of these components that create the unconventional structure of Tarantino films. There is a repetition of oblique camera angles in the three films listed above that either direct the audience’s attention or substantiate an idea. This is a stylistic device commonly seen in Tarantino’s work, and is heavily utilized in the first part of the Kill Bill saga. The film’s introduction establishes a theme of brutality and emphasizes this theme with the use of distinctive camera angles. For example, when we meet the first member of the Deadly Viper Assassination Squad, Vernita Green, a flashback occurs that paints her standing over the crippled body of “The Bride.” It is a point of view angle that has a slight slant due to the positioning of her immobilized body in comparison to Green standing above her; analogous moments are seen throughout the entire film. Furthermore, “The Bride” is an anti-hero protagonist who takes considerably immoral strides, while previously deemed to be an average and ethical human being. After being attacked by the group of assassins that she once associated with, her rage overpowers her - revenge provoking her every move. In addition to this thematic device creating an antithetical protagonist whose actions closely relate them to the film’s antagonist, there is a non-classical narrative pattern used to present this storyline. The film’s novel-like arrangement is split up into chapters that organize the most essential sequence of events. It follows “The Bride” from her attack, through her awakening from a coma, and to the events that lead up to her encounter with O’Ren Ishii – another member of the Deadly Viper Assassination Squad. This creative approach to story telling is a traditional stylistic device employed in Tarantino films that is, in the case of Kill Bill, particularly initiated by the thematic device of a feeling of alienation and paranoia. This is first exhibited in “Chapter 2: The blood-splattered BRIDE” where she awakens in a hospital bed dazed and confused, unsure of her degree of safety and what happened to her unborn child. Due to this uncertainty, paranoia travels with her throughout the film as she seeks out revenge and answers. She is alienated by prior allies and forced to find clarity on her own. The eccentric narrative pattern complements, or rather, carries these feelings aiding their progress throughout the movie. Despite the fact that the scenario breakdown is organized into chapters, there is a variety in the collection of events – another example of a stylistic device.
Although the chapters are placed in chronological order, the audience is continuously taken back in time through flashbacks. For example, “Chapter 3: The Origin of O-Ren" occurs near the climax of the film, however, it is the story of Ishii’s childhood and why she has become this rampant assassin. This collection of scenes essentially takes place in an earlier time period, and also happens to be the only portion of the movie that is depicted in anime. Flashbacks are also commonly utilized when “The Bride” first sets eyes on any individual involved in the attack of her wedding party, or whenever she experiences anything triggering that memory. This trigger typically leads to the ultra violence seen in the Tarantino films mentioned earlier. The presence of violence and crime as social criticism is another thematic device used in his films. Savagery, cruelty, and manslaughter are extensive elements that are established from the start of Kill Bill. Power is placed in the hands of leading assassin, Bill, as he stands over the whimpering “Bride” and asks her if she believes he is “sadistic” in the opening scene. Bill’s character is never revealed in Volume 1, however, he is clearly accredited as the man in charge; he holds the final spot on the hit list and is “The Bride’s” ultimate
target. In conclusion, Tarantino strategically exploits the issues of a hierarchical system and includes social commentary on each film’s time period. In movies such as Kill Bill, Reservoir Dogs, and Pulp Fiction, he touches base on this subject in a manner that does not directly make it the focal point. In Kill Bill, it is the pain inflicted on a woman by an influential and callous man. In Reservoir Dogs, it is the incidence of homophobic remarks and racial reservation that exists in the dialogue. Racial comments are also used with the idea of television’s societal influence as social commentary in Pulp Fiction. In addition, surrealism is often present and supported by extreme violence as exemplified in all three films listed above. Displaying specific thematic and stylistic devices through thieves, hitmen, and assassins, Tarantino reveals the physical and emotional malice and misery caused by men in top positions of hierarchical power.