Kill Bill Volume 1 Full Movie
Nikita Desjardins
The Bride (Uma Thurman) picks up where she left off in volume one with her quest to finish the hit list she has composed of all of the people who have wronged her, including ex-boyfriend Bill (David Carradine), who tried to have her killed four years ago during her wedding to another man. Leaving several dead in her wake, she eventually tracks down Bill in Mexico. Using skills she has learned during her assassin career, she attempts to finish what she set out to do in the first place.
Beatrix Kiddo arrives at the location of the second member of her Death List Five, Vernita Green. The two engage in a hand-to-hand fight, destroying Vernita's living room. The fight is stopped due to the arrival of Vernita's daughter, Nikkia Bell, who is introduced to Beatrix and is told to go to her room. The two former assassins take a coffee break, during which Vernita apologizes for her doings in the past, and asks for mercy. When Beatrix refuses to forgive, Vernita attempts to shoot her with a hidden gun in a Kaboom cereal box, only for Beatrix to dodge the bullet and throw a knife which kills Vernita. Nikkia witnesses her mother's death, and is told by Beatrix that if one day Nikkia will want to avenge her mother's death, she will be waiting. Beatrix then leaves in a yellow pick-up truck.
A flashback reveals the Massacre at Two Pines that occurred during Beatrix and Tommy Plympton's wedding rehearsal, in which the members of the Deadly Viper Assassination Squad murdered all those present at the chapel. Beatrix, the only survivor of the massacre, goes into a coma. Elle Driver, one of the assassins, arrives at Beatrix's room and intends on injecting her with poison, only to be stopped at the last moment by a phone call from Bill, who asserts Beatrix deserves a more honorable death.
Four years later, Beatrix awakens from her coma, horrified to find that she is no longer pregnant. At this point, she believes that her unborn child did not survive. She attacks and kills Buck, an orderly in the hospital that has been raping her and selling her body to other men, one of whom she also kills. She then steals the keys to Buck's pick-up truck, the Pussy Wagon.
While attempting to wiggle her big toe, Beatrix tells the story of O-Ren's past. When O-Ren was 9 years old, she witnessed her parents' deaths by a Japanese crime lord named Boss Matsumoto and his accomplices. After both of her parents were slaughtered, her house was burned down. O-Ren swore revenge, and killed Matsumoto when she was 11 years old, thanks to the fact he was a pedophile. 9 years later, O-Ren became a well-known assassin, carrying out international missions.
Beatrix booked a one-way ticket to the island of Okinawa, Japan. She tracked down a legendary swordsmith, Hattori Hanzō, who also crafted Bill's sword. While pretending to demonstrate her lousy Japanese, Beatrix revealed her true reason for arriving at Japan: finding him. Although Hanzō at first was hesitant, he agreed to forge Beatrix her sword after learning of the "vermin" she intends to kill. The sword Hanzō made for Beatrix was considered by himself the best katana sword he has ever made.
After exploring O-Ren's personal team (which included Sofie Fatale, Gogo Yubari, and Johnny Mo), Beatrix arrived at Tokyo, where she tracked O-Ren down at her hangout location known as the House of Blue Leaves. While in the restroom, Beatrix recognizes Sofie's cell phone ringtone, the same one she had while she was present at the massacre. Calling out O-Ren's name, Beatrix chopped off Sofie's arm, and challenged O-Ren for a fight. O-Ren sent Gogo and her personal army, the Crazy 88, to defeat Beatrix, yet they all failed.
Following O-Ren, Beatrix faced her in the snowy garden of the club. O-Ren ridiculed Beatrix's abilities and intentions, and refused to believe Beatrix's sword was crafted by Hanzō. After a short duel, Beatrix sliced off the top of O-Ren's head, with her final words confirming Beatrix's sword to be one of Hanzō's.
After killing O-Ren, Beatrix made Sofie tell her all the information about the remaining Deadly Viper Assassination Squad. After doing so, Beatrix dropped Sofie off to a nearby hospital, where Bill visits her. He then asks Sofie if Beatrix knows her daughter is still alive, ending the movie on a cliffhanger.
Quentin Tarantino intended to produce "Kill Bill" as one film. With a budget of $55 million, production lasted 155 days. Harvey Weinstein, then co-chief of Miramax Films, was known for pressuring directors to keep their films' running times short. When Tarantino began editing the film, he and Weinstein agreed to split the film into two. With the approach, Tarantino could edit a fuller film, and Weinstein could have films with reasonable running times. The decision to split "Kill Bill" into two volumes was announced in July of 2003.
"Kill Bill: Volume 1" was released in theaters on October 10, 2003. It was the first Tarantino film in six years since "Jackie Brown" was released in 1997.[7] In the United States and Canada, "Volume 1" was released in 3,102 theaters and grossed $22 million on its opening weekend.[8] It ranked first at the box office, beating "School of Rock" (in its second weekend) and "Intolerable Cruelty" (in its first). "Volume 1" was the widest theatrical release of Tarantino's career to date,[9] and it was also his highest-grossing opening weekend to date. Previously, "Jackie Brown" and "Pulp Fiction" (the latter released in 1994) had each grossed $9.3 million on their opening weekends.[7] Paul Dergarabedian, president of Exhibitor Relations, said "Volume 1"'s opening weekend gross was significant for a "very genre specific and very violent" film that in the United States was restricted to theatergoers 17 years old and up.[9] According to the studio, exit polls showed that 90% of the audience was interested in seeing the second volume after seeing the first.[10]
Outside the United States and Canada, "Kill Bill Volume 1" was released in 20 territories. The film outperformed its main competitor "Intolerable Cruelty" in Norway, Denmark and Finland, though it ranked second in Italy. "Volume 1" had a record opening in Japan, though expectations were higher due to the film being partially set there and having homages to Japanese martial arts. The film had "a muted entry" in the United Kingdom and Germany due to being restricted to theatergoers 18 years old and up, but "experienced acceptable drops" after its opening weekend in the two territories. By November 2, 2003, it had made $31 million in the 20 territories.[11] "Kill Bill Volume 1" grossed a total of $70 million in the United States and Canada and $110.9 million in other territories for a worldwide total of $180.9 million.[8]
For "Volume 1", review aggregator Rotten Tomatoes gives the film a score of 85% based on reviews from 218 critics and reports a rating average of 7.7 out of 10. It reported the overall consensus, "Kill Bill is nothing more than a highly stylized revenge flick. But what style!"[12] At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the film received an average score of 69 based on 43 reviews.[13]
A. O. Scott of "The New York Times" said Tarantino's previous films "Pulp Fiction" and "Jackie Brown" were "an exploration of plausible characters and authentic emotions". He wrote of "Kill Bill Volume 1", "Now, it seems, his interests have swung in the opposite direction, and he has immersed himself, his characters and his audience in a highly artificial world, a looking-glass universe that reflects nothing beyond his own cinematic obsessions." Scott attributed "the hurtling incoherence of the story" to Tarantino's sampling of different genres that include spaghetti westerns, blaxploitation, and Asian action films. The critic summarized, "But while being so relentlessly exposed to a filmmaker's idiosyncratic turn-ons can be tedious and off-putting, the undeniable passion that drives "Kill Bill" is fascinating, even, strange to say it, endearing. Mr. Tarantino is an irrepressible showoff, recklessly flaunting his formal skills as a choreographer of high-concept violence, but he is also an unabashed cinephile, and the sincerity of his enthusiasm gives this messy, uneven spectacle an odd, feverish integrity."[14]
Cultural historian Maud Lavin argues that The Bride's embodiment of murderous revenge taps into viewers' personal fantasies of committing violence. For audiences, particularly women viewers, this overly aggressive female character provides a complex site for identification with one's own aggression.
The first installment of Kill Bill is a tremendous homage to old school kung fu movies as well as spaghetti westerns. Much like many spaghetti westerns and kung fu films (i.e. Unforgiven & Enter the Dragon), Kill Bill Vol. 1 is a story of violent revenge.
After a childhood filled with Bruce Lee movies, it was extremely easy for me to appreciate the references that Tarantino littered throughout the film. One of the most noticeable examples of this is the iconic yellow jumpsuit that Bruce Lee wore in his final film Game of Death. Along with this, viewers are also treated to visuals of the Kato mask that Lee wore in The Green Hornet as well as a scene that mirrored a famous fighting sequence from Fists of Fury.
Despite all of the violence though, Kill Bill never seems too brutal. I think this is because the film is incredibly self-aware and while the fights are gory, they are also extremely over the top. Each fight feels more like a performance (or even a dance) rather than a death match. Similar to a dance or a professional wrestling match the fighting scenes in Kill Bill have over the top moves that are meant to impress the viewers. It does not matter whether or not the fighting is realistic, what matters is whether or not the people watching it are entertained.
Tarantino takes the old school kung fu flick and makes it better than ever with Kill Bill Vol. 1. As a result I will be giving the film a 5 out of 5 star rating. Honestly I cannot believe that I forgot to add in this cover when I created the background for my blog. The film is basically a manual for how to make a great martial arts movie. The cinematography is just as flashy as the fighting choreography, which makes the film an absolutely thrilling and entertaining experience. It is truly one of the best of its kind.
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