banner image

:: Kill Bill 2

Less samurai inspired and more spaghetti western, Kill Bill Volume II is a stand-alone film in its own right, whilst also being a fitting conclusion to the events of Kill Bill Volume I. The film begins with The Bride (Uma Thurman) recounting the events of Volume I, which is most helpful in picking up the continued story line. As The Bride drives through the desert, she explains what happened that fateful day of her wedding rehearsal when she was reunited with her former lover and boss Bill (David Carradine).

Volume II has less action and more dialogue that Volume I. In the model of a Shakespearian revenge tragedy, Bill’s speeches rival those of Hamlet in length and frequency. A lot of Bill’s dialogue serves to explain why he and The Bride are hell bent on annihilating each other, and if nothing else, save the film from using even more flashback sequences than it does already. The abundant use of dialogue affords the audience the opportunity to see the two characters’ reactions to each other after so much tortured history and bloodshed.

Tarantino continues to have a lot of fun with the ensemble cast of killer babes and equally deadly but quirky blokes. The part stereotype, part comic book villains and villainesses are less prevalent in Volume II. We have largely departed planet fantasy, where the female characters are there to be simultaneously ogled yet celebrated. Volume I of Tarantino’s world is inhabited by killer school girls, powerful, dignified and deadly Tokyo crime queens (resplendent in traditional dress), the nurse with an eye patch, the pregnant bride, the murderous single mother and slinky female body guards. In Volume II, Elle Driver (Daryl Hannah) returns and we learn a bit more about her character and origins of her beguiling eye patch, but there is generally less visual spectacle e and more in-depth exploration of the other secondary characters. The theme of motherhood bookends the two-volume film as The Bride’s first victim is Verita Green aka Copperhead (Vivica A. Fox) she playing the dual role of assassin and loving mother. By the end of Volume II, the role of ‘mommy’ is exactly what is celebrated and revered. This could be a great film to take your mother to on Mother’s Day. Such is the reverence afforded this particular role.

Uma continues to impress in the role as The Bride (a character of her own creation) and again shows her abilities as an actress, especially when it comes to communicating pain, agony and panic. There is a particularly harrowing scene (shot in complete darkness) involving a ‘live’ burial. Tarantino makes us wait until the last minute, until we have just about given up hope of The Bride's escape before again using a lengthy flashback sequence to explain just how she may free herself from her predicament.

So, does she or doesn’t she? Slowly but surely, The Bride exacts her revenge.