"One of the motives for the big finale fight scene, the Showdown at the
House of Blue Leaves, was to see whether he was capable of it," says
Tarantino. "It was 'Let's see if you can do some of the best action ever
filmed and if you can't, you'll know you're not as good as you think you
are, you have limitations, stick to dialogue.' I was daring myself to hit
my head on the ceiling of my talent."
Quentin Tarantino quoted in The Guardian
get the bandages.
face it, after Reservoir Dogs and Pulp
Fiction, that ceiling of talent was way up there,
the space below it cavernous, full of dark red, sticky viscera
and echoes of some fresh, verbal sparring, gun shots and the
odd ‘muthafucka’ ricocheting off every wall. The
cinema of Quentin Tarantino had burst in on us like an exploding
head in the back of a Pontiac. With an uncanny grasp of self-publicity,
Tarantino managed to entwine his personality so entirely with
his work that Kill Bill arrived with the
all but official sub-title 'Quentin Tarantino's 4th Film'.
Breaths were baited.
– deep unbaited breath. I came 'that' close to walking out.
The fact I even considered walking out stunned me. I must
have just reached a point (or Tarantino crossed it for me).
I was so acutely bored because I just didn't care, not a jot.
This is a cartoon film interspersed with real cartoons with
no one or nothing to care about. In fact Kill Bill is like watching a brilliant surgeon (technically
it's a tour de force but then again – who cares?)
performing one of the most absurdly difficult operations known
to medical science – on a corpse. And both surgeon and observer
know this. Kill Bill tries so hard to be
hip and ends up a simple regurgitation of what used to pass
as hip thirty years ago spliced with the almost obligatory Matrix fondue. In Reservoir Dogs,
Tarantino's radio station was 'where the seventies survived...'
He's faithful to his early influences, I'll give him that.
I never thought I'd hear that whiny electronic 'woo waar'
intro from Ironside ever again. What a simple
pleasure (ho hum) it was to hear it four or five times, like
an aural neon sign saying "Uma's a tad miffed now..."
Is our creative cultural future the bones from TV bygone TV?
limbs and literal cartoon blood a coherent movie do not make.
The fact Tarantino can so effortlessly throw in ideas of morality
(don't kill mommies in front of their daughters) and then
show us it happening anyway made me quite sick, but not in
a good artistic Blue Velvety sort of sick.
The other throw away – "Oh but luckily for Woo (or woo
ever) the man she swore vengeance against was a pedophile..."
– so our cartoon nasty could straddle him and exsanguinate
him with one profound knife blow... What? One of our deepest,
nastiest human depravities – to force children into sex –
and it’s a simple set up for a technicolor stabbing?
We presume that the little girl is fucked up beyond measure,
so it’s OK she’s being fucked by a gangster who
killed her mom... Jesus.
wondered why this scene was bereft of real actors –
it’s hard to imagine anyone wanting to play the scene
– maybe Christopher Walken could get away with playing the
gangster. As for the pre-teen girl, that’s a tougher
one to call.
is taking the taboo of paedophilia and plopping it firmly
as a throwaway in his cartoon. I mean... That's like Tom
and Jerry dealing with 9/11. At least when Oliver
Stone makes Natural Born Killers he's making
a spectacularly valid point. Interesting that that film was
originally written by Tarantino and then disowned.
Bill is all technical dick swinging – look at MY
technique... It's just that anyone can do that sort of thing
with Yuen Wo Ping on your crew. I just sat there and fidgeted
will QT go purple? Before you ask, it's Camusspeak for a film-maker's
craving peer acceptance after making their careers out of
well intentioned and well received fluff. Spielberg was the
model (making The Color Purple was his first
failed step, hence going purple). Tarantino’s life and
world is movies (and 70s TV) and ultimately it means his ideas
are second hand ones, however first hand and dazzling the