“Hello Kiddo”
Whether old or new, I always endeavour to write my film appraisals in a slightly differing way each time and so the review of Kill Bill Vol.2 differs from that of its bloody predecessor in as much as I cover the cameo and supporting roles here, and in a film I prefer and love more than its blood splattered first volume. This is arguably Tarantino’s first spaghetti western of a trio that could be rounded off with Django Unchained from 2012 and The Hateful Eight 3 years later. As a myopic fan, I’m rather hoping he has another of these epic, expansive western masterpieces up his cinematic sleeve and time can only tell in this regard.
Having already re-released my decade’s old reviews of Pulp Fiction, Jackie Brown, Kill Bill Vol.1 and more recently, Death Proof, reproduced below is more of a directorial appraisal of the great master and one of his finest ever achievements. All nine of Tarantino’s current releases can be found within the two opus blog articles linked at the bottom of this paragraph, the first of which remains a shining example of the elongated and entire capture of a filmmaker’s cannon of work at the time of writing.
The Genius of Quentin Tarantino
The nine films of Quentin Tarantino. Or is it a Hateful Eight?medium.com
The Genius of Quentin Tarantino Vol 2
Once Upon a Time in Hollywood. Oozing with myopic love, not spoilers.medium.com
“Hello Kiddo”.
Opening in Black and White but no references to “Shaw Scope” or crackly 70’s “Our Feature Presentation” slides this time. Kill Bill Volume 2 was always mooted as being Quentin Tarantino’s Spaghetti Western and this is very much his homage to the genre. The opening titles themselves are noir styled and fade into a repeat of The Bride’s apparent slaying at her wedding of the first film. The opening monologue closes at the end of a noir saturated drive, one camera and The Bride never taking her eyes from the screen as she narrates her intention to “Kill Bill”.
Chapter Six: Massacre at Two Pines
With a continued narration from The Bride, we slowly zoom into a sparsely populated wedding chapel. Tiring of a staid and bizarrely matter of fact wedding rehearsal (though this includes a superb brief cameo from Samuel L Jackson as “Rufus”), The Bride walks slowly toward the exit for some fresh air. Hearing a familiar sound as she approaches the door and a close up of The Bride, it’s clear who’s making that particular familiar sound.
Bill, sitting nonchalantly and playing his flute is clearly as aware as The Bride to each other’s presence. Extreme close ups of both are quickly intercut with minimal dialogue. The two assassins approach each other, step by slow step, each one a homage and each one captured by Tarantino. It’s evident that both are pleased to see the other and are deeply in love with each other, yet similarly detached from this and remaining in their assassins character. They remain wary of each other, as aptly shown by Tarantino’s quick editing again and constant facial close ups. This is replaced quickly by a long, lingering single shot of the two assassins, with performances and dialogue to match, as they each try to gain the upper hand and dominate the discussion, before Tarantino breaks the tension in typical fashion with first over the shoulders shots of both, then the introduction of Tommy.
“Tommy” (a superb cameo from Chris Nelson) is The Bride’s husband to be and Carradine’s portrayal here of Bill is outstanding. Never wavering, nor taking his eyes away from Tommy, his disgust and anger is clearly boiling. With the rehearsal about to start, Tarantino reverts to one single shot, brilliantly lighted to give The Bride an ethereal white glow surrounding her. Seeking Bill’s approval, The Bride ends with a kiss that is not returned, a second kiss that is equally not returned, and slowly and quietly resumes the rehearsal. Bill’s expression has again never wavered, nor has Tarantino’s single shot, until with a reverse upward zoom we back out of the chapel to be met with the oncoming Deadly Viper Assassination Squad.
Resuming full colour and with a homage orange tint prevalent, a long shot of a mountain vista is soon replaced by a quickly edited two camera discussion between Bill and his brother “Bud” (Michael Madsen). Although their friendship and kinship now a thing of the past, Bill has come to warn Bud that The Bride is part way through her revenge and he’d like to help.
Chapter Seven: The Lonely Grave of Paula Schultz
“Larry Gomez” (Larry Bishop) A brilliantly, brilliantly sublime and surreal cameo!
“What are you trying to convince me of, exactly?. That you’re as useless as an asshole right here? Well, guess what Buddy. I think, you just fucking convinced me!”
“Bud” (Michael Madsen) Just warming up for Chapter 9 and acquiring some bargaining chips along the way! A gem of a Chapter seeing one of our protagonists going to an incorrectly named grave and Johnny Cash’s superb “A Satisfied Mind”.
A Chapter very much in the mould of the Director.
Chapter Eight — The Cruel Tutelage of Pai Mei
Consists of three distinct narrative strands, a four camera angle fireside chat between a falling in love Bride and Bill and a claustrophobic 2 camera angle escape from a coffin. Both sublimely shot and lighted. In between comes a performance from Gordon Liu as “Pai Mei” that is near perfection and Quentin Tarantino at his very best. Tarantino and Liu combine to produce the ultimate homage to Hong Kong cinema, extreme zoom in close up’s/cutaways, slightly out of sync language from actor to screen, Liu’s laughter and beard stroking! Some sublime kung fu.
Chapter Nine: Elle and I
The opening and the Chapter in general is pure homage, to muscle car films of the 70’s (soon to have a film all of it’s own), spaghetti westerns and Hong Kong Cinema. From “Elle Driver” (Daryl Hannah) and her drive to Bud’s trailer (with added suitcase), to the spaghetti western tinged sunset behind The Bride as she walks endlessly to meet her next assassin. Both of these key themes merge as we see The Bride, high on a mountain side watching Elle’s arrival as we did earlier.
Cutting to inside the trailer, and an awkward conversation between two assassins, both with enmity for the other. The conversation is punctuated with typical Tarantino flourishes, of close ups on drinking glasses and the blender and the dialogue is prosaic, with Bud asking Elle which “R” she’s feeling “Retirement” or “Regret”. Before Elle can answer fully, Bud, opening the suitcase full of money receives Elle’s surprise gift for him!
With Bud now prone and slowly dying (fantastic upside down shot of Elle standing above him, lighting a cigarette), she sits and calmly reads a narrative from the Internet, flicking through her notebook as she goes, before, with Bud on the brink of death, giving her answer, “Regret”. Answering a call from Bill, she confirms the death of his brother and finally confirming that The Bride (whose name has been deleted throughout is actually……………….) is dead too. She attempts to leave the trailer.
With a flying kung fu kick, The Bride knocks Elle down, and thereafter Tarantino infuses the third homage of this Chapter, Hong Kong Cinema, with real zest. The two assassins stage a violent kung fu battle, with slow motions galore, extreme close ups and numerous kung fu infused sound effects. Mid way through, Elle has a further revelation that fires The Bride still further and after a samurai sword Mexican stand off, The Bride can finally score through Elle’s name on her “Death List”. With a last, lingering look at the fallen Elle, The Bride limps from the trailer.
Last Chapter: Face to Face
“Estaban Vihaio” (Michael Parks) Following his brief cameo in Kill Bill Volume One, Michael Parks produces yet another brief, scene stealing cameo here as Bill’s friend.
Michael Parks 1940–2017. RIP genius.
“Bill” (David Carradine) and his “Bride” (Uma Thurman). Picture courtesy of and with thanks to www.mubi.com
“Bill” (David Carradine) Finally appears in his own film and finally gets the chance to act his arse off in a sublime performance.
David Carradine 1936–2009. RIP
“The Bride” (Uma Thurman) Just an incredible performance across both films and heartbreakingly so as the film reaches it’s climax. Accompanied by two sublime choices of music “About Her” by Malcolm McClaren and “Urami Bushi” by Meiko Kaji.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“Steve Jobs” (2015)
“We blow this and IBM will own the next 50 years like a Batman villain”.medium.com
“Red State” (2011)
“Even the Nazi’s think this guy is nuckin’ futs!”medium.com
“Drive” (2011)
“You put this kid behind the wheel, there’s nothing he can’t do”.medium.com