A Movie A Day #18 : KILL BILL (2003 & 2004)
It is: The film that defined one of the greatest talents of modern cinema
I love it because: I long for the day Tarantino finally gets around to releasing Kill Bill : The Whole Bloody Affair, marrying the two parts together with extra footage, as he has long rumoured. If Grindhouse had been a success instead of the niche nudge-and-wink to the 70’s it became (and as such, a failure) it could easily have happened. In hindsight perhaps Miramax were right to force QT to split his revenge epic; it may not have been the original plan, but it made it a commercial success. But the more I watch this brace of classics, the more I find it harder to actually see then as two movies, and despite discussion from a lot of fans about which is best (generally part 1 takes it) I struggle to choose between either. Everything works, from the action splatter spectacle at The House Of Blue Leaves to the moment Beatrix Kiddo is reunited with her daughter, from every homage through to every precise line of dialogue. It may not be Tarantino’s best film, but it is without doubt my favourite. When seen as one, it’s a three-and-a-half hour love letter to just about everything I hold dear in cinema: Shaw Brothers, Golden Harvest, Godzilla, Samurai, Spaghetti Westerns, Martial Arts, Giallo Thrillers, packed with a cast of genuine cult actors - Sonny Chiba, Gordon Liu, Michael Parks, David Carradine - and blatant (and not so blatant) cues to Tarantino’s love of film through a selection of shots and music. When the Bride asks for a Hatori Hanzo sword, or Quentin throws in a singular shot of Tokyo in model form through the airplane window, it’s not just for his own thrill, but for every film geek who sought out the rare, the foreign and the strange. I love Kill Bill because it has everything I dream of, and as such feels like a film that was made personally for me.