Kill Bill: Beyond the sword of vengeance

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One day, I'll write something awesome about the meaning of Kill Bill to blow your mind. In the mean time, feast your vengeance heart on this very in-depth article by Michael Crowley on the film.

Not since Stanley Kubrick defused psychological interpretations of his adaptation of The Shining—by defining it as simply a ghost story—has a director so decisively discouraged theoretical analysis of an intriguing work. Yet, Quentin Tarantino has preempted similar inquiries with respect to Kill Bill by taking every opportunity to define his four-hour saga only in terms of its influences, while reducing it, without elaboration, to a singular and obvious theme of revenge. In spite of Tarantino's recalcitrance, I'm unable to quell my suspicions that there may be more here than has been claimed.

Anyone can imitate anything; it is my sense that Kill Bill is more than an imitation, revision or reconsideration of Seventies grindhouse and western cinema. And it contains too many cues that it is more than “simply” a sprawling homage or the story of an angry woman's revenge.

Let's be honest. The young viewers who will be most influenced by Kill Bill won’t care, initially at least, that a particular scene “refers" to Dressed to Kill or that the character Pai Mei is an artifact from Shaw Brothers films (and before that, a historical figure); if they are in the midst of that miraculous courtship that viewers enjoy with films that rapture the imagination, they will naturally ask themselves the same questions Tarantino, as an impressionable youth, likely asked himself about the works that took his breath away: Why do I like it? What is this film about? What drives my favorite characters? Is there some less-than-obvious meaning here to be gleaned? In addition to those questions, one I sometimes ask myself when faced with a work this ambitious—and in some mysterious way obsessive—is, Why was it so important to this director to tell this story?



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