The Ferrari of action films

Rating: 9/10 (19 October 2003)

The beauties of film making and the crafting of cars are fundamentally the same: both involve the elaborate composition of many elements and technologies to
generate a single, cohesive, entity. Therefore, if Kill Bill had four wheels, then they must have been assembled by Ferrari. Tarantino is the Ferrari of his art, and is a master of the combinatorial approach to film direction, gelling sight, sound, energy and tone into a piece of entertainment.
Tarantino has often stated that he grew up on Kung-fo movies, and this appears to be his homage to them. This represents the core premise of the film, with
concentrically arranged hierarchies of detail then constructed around it. In
lesser hands this approach could have led to a disjointed film, however the
imagination and care that has been injected are highly evident and enjoyable to watch. However, the plot concerning the path of revenge is relatively
inconsequential, and simply represents a platform onto which the action and
emotion are built. Not that this matters, since the action is so dazzlingly
spectacular and Uma Thurman's performance so startling.
The camera viewpoint is used by Tarantino as a humour in itself. Little touches such as the rows of sunglasses on the cop's dashboard and the `Pussy Wagon'
keychain are evidence of this. Equally he has become more sophisticated in the utilisation of difference camera techniques, connecting them to the rhythm of film. The best example of which is the long tracking shot to establish the Tokyo club layout, followed by an abrupt cut, at which point the action begins.
Furthermore, the use of sound in the film is excellent, both with the superb
musical soundtrack and the effects. Touches, such as the increasing beat of the spinning ball and chain weapon as the battle reached its climax, were well
appreciated. Also, the moaning sounds of the injured during Thurman's rousing speech were hilarious.
This brings me to the violence of the film, which was admittedly gory but should be understood in two ways. Firstly, it is a tool used in the establishment of a constant tension throughout the film. Secondly, it has comedic value - watch
Monty Python's Question for the Holy Grail for the origin of the spouting blood from severed limbs gag. The film is essentially a cartoon, a fact accentuated via the anime interlude, and is not meant for literal interpretation.
In conclusion, Tarantino's skilful combination of the various auditory, visual and psychological components within the film makes this his best work yet. Roll on volume two.
4 out of 4.