Unit 7: Narrative - Review - Quentin Tarantino's Kill Bill

Figure 1. Kill Bill Poster Art
Taratino's 2003 epic about fallen assassin "Black Mamba" is jam packed with references to film culture. Audiences are sent on a whirlwind through time as they re-experience a selection of their favourite moments in film. What makes this ingenious is that these slices of historic film are working as a collage to the demand of a new narrative. We are experiencing our best moments in film, in a new package but we are being told them by Tarantino from a cultural point of view.

•Directed by: Quentin Tarantino
•Written by: Quentin Tarantino
•Cast: Uma Thurman as The Bride, Lucy Lui as O-Ren Ishii, Vivica A. Fox as Vernita Green, Daryl Hannah as Elle Driver, Julie Dreyfus as Sophie Fatale and David Carradine as Bill.
•Genre: Mystery, Suspense, Action & Adventure
•Duration: 111 Minutes (aprox)



Figure 2. "I'm the man” - (Bill, Kill Bill)
The film opens on the set of a wedding massacre exposed in black and white immediately telling its audience that the plot is shallow when the bride is executed by an unknown party whose baby she is carrying. The second we see the Bride emerge from her coma we know that she is not going to simply lay down and die without a doubt this movie is about revenge. At its surface the plot is as deep as a puddle the real treat lies in its details as classic moments transport its viewers into nostalgia, causing themselves to question if they have seen the film before... Mark Conard of Metaphilm observes:

“In Kill Bill: Volume 1, more than in any of his other films, Tarantino revisits those movies and movie genres that he so loved as a kid, particularly the martial arts films and the spaghetti westerns (with cartoons and “blaxploitation” films thrown in for good measure). He even includes the grainy “Our Feature Presentation” graphic from those good old days at the beginning of the movie, and thus we in the audience are instantly transported, with a wave of nostalgia, backwards through adolescence to childhood itself.” (Conard: 2003)

The trick is they haven't... this is Tarantino's madness, a collage of his favourite moments working together to bring across an entirely new narrative to the viewer. The only difference is this narrative is not new, it is a cliché of the basic revenge plot if it wasn't for the collage of scenes or Tarantino's VHS film style outlook we would be looking at a rather simplistic tale. One could say that this is what Tarantino wanted to say about his gallery of greats, from a narrative standpoint they were basic but they worked and now he has shown us that they can still work.



Figure 3. "Revenge is a dish best served cold” - (1st Title Card, Kill Bill)
It is very hard to pin-point all of Tarantino's references for Kill Bill but for the most part we can see the Bibliography body appears to borrow from Classic Martial Arts movies such as the television show "Kung Fu" - to which David Carradine (who stars as Bill) was a regular cast member. The television show "Shadow Warriors" to which Sonny Chiba played the character "Hatori Hanzo" who reprises his role in Kill Bill as the 16th century Samurai warrior. Subtle references can be traced back to westerns films such as "The Searchers" and "The Good, the Bad and the Ugly", but there are others... As Sandra Oddy from slideshare.net observes:

“Shooting through the cereal is a reference to the episode of the Simpsons called "Simpsoncalifragilisticexpial a-Doh-cious," which features an episode of Itchy and Scratchy called Resevoir Cats (a parody of Resevoir Dogs), guest directed by Quentin Tarantino. In the cartoon, Tarantino turns up and says : "What I'm trying to say with this cartoon is that violence is everywhere. It's, like, even in our breakfast cereal, man.” (Oddy: 2012)

Truer words have never been spoken about our culture we love to see a hero fall and the more violent that fall is the better. The breakfast scene alone (in which we see two women brutally fight in a seemingly ordinary suburban town) is Tarantino's way of telling us how unordinary ordinary is. That if something so ordinary is going on then deep down somewhere there has to be some show of violence which is causing us to act orderly. Tarantino's work is also in the construction of the weaponry with women relentlessly fighting with Kitchen utensils and fire stokes... the breakfast scene in itself highlights the juxtaposition between the "epic" and the "mundane".



Figure 4. "That woman deserves her revenge and we deserve to die” - (Budd, Kill Bill)
The real challenge on Tarantino's part was intriguing an audience long enough to get them to watch a sequel. What is difficult in this particular case is the film is about a woman seeking revenge on a man known as Bill when the ending lies on a part that is not going to be released yet (Kill Bill Volume 2 - aka the eventual death of Bill). For this an execution of skill was required to give viewers their fill of blood and violence before the credits roll while staying true to the narrative and so was the story of Oren Ishii. Variety film reviews Todd McCarthy observes:

Oddly, it's an anime sequence that puts things right. The Bride's second target is O-Ren Ishii (Lucy Liu), the queen of the Tokyo underworld, whose backstory of having witnessed, as a child, the brutal killing of her gangster father by yakuza thugs and of eventually extracting her own revenge, is told entirely in a 7-minute anime specially created under Tarantino's direction by the Japanese studio, Production I.G. Inspired device is strongly effective and serves as a wonderful bridge for the action from the U.S. to Asia." (McCarthy: 2003)

While it is true the story does connect the dots providing much needed justification between regions, one is still impressed by this brief depth added to this volumes particular threat. Oren suddenly has identity, in addition this allows our culture vulture Tarantino to dig into his bag of references and explore the classic Japanese anime culture hype realised and blood thirsty. In addition, we are no longer experiencing the Brides story we are experiencing Oren's story told by the Bride (a story within a story) which is also classically centred on the cliché of vendetta.



"She said that I could keep my wicked life for two reasons.” - (Fatale, Kill Bill)
As the credits roll the viewer can take one of two things away from Kill Bill it was either a display of violence shown in Tarantino's classic non linear narrative style or it was a trip down memory lane told in the terms of our culture from past cultures or at least Tarantino's perspective from past cultures. The film is completely eccentric and brings everything to extremes including the colour palette, it is hyper-real... Chris Hyde of Box Office Prophets observes:

“By taking the varied influences from his past and weaving them together into a whole new form, Tarantino has managed here to create on celluloid a work of art that exists not just as exploitation but as meta-exploitation. Kill Bill may be just an over-the-top testimonial from a devoted fan now behind the camera, or perhaps it is instead rapacious cultural piracy of the highest order.” (Hyde, 2003)

Kill Bill has more to it then what first meets the eye there are numerous references, it is completely unreal and then it is not. It is a cliché but then it is so much more than that. When you watch it you are not watching a single culture, you are watching a photo album come to life. An album of past memories and past cultures. Maybe it is meta-exploitation but then what else is there. Kill Bill is what it is until it isn't, it is a post-VCR film providing a collection of various works from a rich tradition of cinema. -----------------------------------------------------------------------
List of Illustrations

Figure 1. Kill Bill Art. (com) [Online image]. At:
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCogg6mrkya3Vm7Uolcarxc_BYiRXDnAEBKzOffkAhtgMrwjLxk3Go5ZBHJwe3r7OfcEjxGzjgDsWI2VOnhk4sBE0xkguPRcbON_1WM9pk8k1czuKDI2K2mZ3aDe8vgvlJxFjf0bre60/s1600/kill-bill-vol-1-poster-01.jpg
(Accessed on: 03/10/12)

Figure 2. I'm the man (com) [Online image]. At: http://cdn.motinetwork.net/motifake.com/image/demotivational-poster/0911/how-did-you-find-me-kill-bill-david-carradine-demotivational-poster-1257114013.jpg
(Accessed on: 03/10/12)

Figure 3. Revenge is a dish best served cold (com) [Online image]. At: http://designyoutrust.com/wp-content/uploads/2011/05/Everything-Is-A-Remix-KILL-BILL-1-600x335.png
(Accessed on: 03/10/12)

Figure 4. That woman deserves her revenge and we deserve to die (com) [Online image]. At: http://s0.wdstatic.com/images/it/ll/f/fa/Kill_Bill_032.JPG
(Accessed on: 03/10/12)

Figure 5. She said that I could keep my wicked life for two reasons (com) [Online image]. At: http://24.media.tumblr.com/tumblr_ku99xdUCTM1qa0ltoo1_500.jpg
(Accessed on: 03/10/12)

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Bibliography

Conard, Mark. (2003) Kill Bill: Volume 1 - Violence as Therapy, or: How to Be a Dick At: http://metaphilm.com/philm.php?id=200_0_2_0_M
(Accessed on: 03/10/12)

Oddy, Sandra. (2012) Kill Bill Reference Slide At:
http://www.slideshare.net/sandraoddy2/kill-bill
(Accessed on: 03/10/12)

McCarthy, Todd. (2003) Kill Bill Vol. 1 Review At: http://www.variety.com/review/VE1117921975?refcatid=31
(Accessed on: 03/10/12)

Hyde, Chris. (2005) Kill Bill Volume 1 Review At: http://www.boxofficeprophets.com/hyde/killbill.asp
(Accessed on: 03/10/11)

Unit 7: Narrative - Review - Spike Jonze's Adaptation

Figure 1. Adaptation Poster Art
Director Jonze's "Adaptation" is an argument between high art and low art films, yes we are following the eccentric/nervous Charlie Kaufman (Cage) and his care free brother through an investigation into a plot-less book about flowers. The trick lies at the true roots when the film starts writing itself, one almost expects Cage to leave his role as Charlie and climb off the set of Adaptation before the credits roll telling us we were watching a film within a film all along.

•Directed by: Spike Jonze
•Written by: Susan Orlean, Charlie Kaufman & Donald Kaufman
•Cast: Nicolas Cage as Charlie Kaufman / Donald Kaufman, Tilda Swinton as Valerie Thomas, Meryl Streep as Susan Orlean, Chris Cooper as John Laroche, Jay Tavare as Matthew Osceola, Litefoot as Russell (as G. Paul Davis) & Roger Willie as Randy
•Genre: Drama & Comedy
•Duration: 114 Minutes (aprox)




Figure 2. "Who's gonna play me?” - (Laroche, Adaptation)
The film opens to the set of a popular film at the time "Being John Malkovich" (also directed by Jonze & Written by Kaufman) we are then placed with our lead for the duration, the nervous Charlie Kaufman (Cage) who happens to be a writer on the set of "Being John Malkovich". Not too long down the line Charlie is tasked by his agent to produce a working screenplay titled "The Orchid Thief" already adapted from a newspaper article and eventually adapted to a book. The only problem for poor Charlie is... the book is completely plot-less, which drives Charlie to consider other avenues to finish the story. Jough Dempsey of Cinema review observes:

“Given the onerous task of having to produce a screenplay from the material, Kaufman found a way out: he put himself in his own screenplay, making the film less an adaptation of the book than it is a story about adapting an unfilmable book into a screenplay.” (Dempsey: 2004)

This is where the film adapts further shifting into a writers true nightmares including writers block and human passions. We are no longer experiencing the adaptation of a book to the big screen we are watching the film before it has been released, each page is being written before our eyes as Charlie begins to add himself to the screenplay. The only thing that is probably more ingenious is that the characters are named after their real life counterparts, one dares ask if these are identical portrayals of off screen personalities.



Figure 3. "I’m a walking cliché” - (Kaufman, Adaptation)
Every tandem leap in the narrative always falls back to Kaufman in private isolation trying to draw more narrated gold from the top of his head using any source of motivation. As the book is read we are taken deeper into a story about flowers only to return to Charlie having just read the chapter we watched causing him to recycle old ideas and bring out others shifting the narrative retroactively. Roger Ebert of Rogerebert.com observes:

“He relates his agony in voiceover, and anyone who has ever tried to write will understand his system of rewards and punishments: Should he wait until he has written a page to eat the muffin, or ....” (Ebert: 2002)

It is hard to know where the story truly stops because as it ends for one character we are thrown to another only to discover that chapters of the book are missing, we are then placed in what we think is reality. The truth is the whole film is looking at us and then back at itself and then back at the writer only for the audience to ask the question is this film an adaptation of this film? Which it could very well be... This film not only studies the personalities on and off screen but it studies what it is and what it is about, leaving an erratic Kaufman narrating what he thinks its about.



Figure 4. "Anyway, listen, I meant to ask you, I need a cool way to kill people” - (D. Kaufman, Adaptation)
Adaptation does not ignore the atypical cliché but in some instances expands upon it making everyone chuckle as obvious narrative devices are utilized mostly by Charlies naive brother Donald, who cannot read Charlie's sarcasm. The thing that one is compelled to take from this is that films are made based on blood lust and obvious attachments, the narrative has become like all narratives almost becoming a cliché itself. Of course this does not go to say that the viewer can have an opinion about Adaptation... Rob Gonsalves of EFilmCritic.com observes:

Since the movie creates itself as it goes along, it makes perfect sense that it should destroy itself. By so doing -- in a climax that will disappoint many who hoped for something less conventional -- it effectively trounces everything Donald, McKee, and Hollywood stand for. It has been made without the slightest concern about whether you like it. (Gonsalves: 2006)

In a nut shell Adaptation was written in front of your eyes, you have no say in it because it doesn't care. Everything has been deconstructed for the viewer and then reconstructed. In short, Kaufman is laughing at us, the consumer, he is laughing at the industry he works in, he is laughing at the film and our interpretation of the film... it's all smoke and mirrors that alone is what makes it fantastic. It even pokes fun at murder before becoming about murder, contrasting obvious artificiality with on the spot controversy.



"It ends with Kaufman driving home, thinking he knows how to finish the script.” - (Kaufman, Adaptation)
When all is said and done Adaptation is just about what it is and who is viewing it. It reflects society and us as consumers of film culture. We are both the same person and yet we are not, this film is a film about a film and everyone who watches this film is involved in its birth, life and death with no say in any of it... Luke Stay of lukestay.com observes:

“These are words from Donald’s script, a script that does not exist, but that does not matter. Donald’s script is Charlie’s script. Donald is Charlie. Charlie is the viewer. I am Charlie. I am the viewer. I am done. I arise from my computer filled for the first time with hope. I like this. This is good.” (Stay, 2005)

Adaptation is explicably post modern, there is no definitive definition for what the writer is trying to say but there is a point to be understood. It demonstrates life within life and how examining life or a particular part of it can be distorted or boiled down into a cliché, while at the same time not being a cliché.

"We are life, life is change, life is adaptation..." (Stay, 2005)

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List of Illustrations

Figure 1. Adaptation Poster Art. (com) [Online image]. At: http://www.traileraddict.com/content/columbia-pictures/adaptation.jpg
(Accessed on: 03/10/12)

Figure 2. Who's gonna play me? (com) [Online image]. At: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14U83_SRm_GuhlZGcpi4pmLF-cJ22BSRnMigvHzRRyK0nBOxLW8hL0NdsXyeA3pHg4SO89e3pR5Cr23Z-VEdbv-cgoFyK65pZqZv3plF3Mgb5tmqYFcCTGrsDssxa_u2t5O06fOfBeWw/s1600/Chris+Cooper+Adaptation.PNG (Accessed on: 03/10/12)

Figure 3. I’m a walking cliché (com) [Online image]. At: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDhquC1x_807MWZ8vQ5A_nbCGLtmHhHfn1A4C90KaGv8VEncHbpoFLHuFGFxUms4pzNTFMLYtErAX-JCifANm28HBDzD1bNdpyS65RsmB8k9WWOgw-3tL151HCeol2nNtqXbWD-cG9RiD/s400/adaptation-6.jpg (Accessed on: 03/10/12)

Figure 4. Anyway, listen, I meant to ask you, I need a cool way to kill people (com) [Online image]. At: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgyjWQz_ygcLGNvQT5TEHrBiVJLcmd00_IzKcU4cMlWtj7GcPrSueTA1H8jVm6nqJjszGJEKJcN9sz1EeKWVbkWhfk5AXX1BTHFNHWpu03YVNxZg0SJFVBNJFyfyGtQyqqbOQMUj90Sk/s1600/Nicolas+Cage+Adaptation.PNG (Accessed on: 03/10/12)

Figure 5. It ends with Kaufman driving home, thinking he knows how to finish the script (com) [Online image]. At: http://cdn.uproxx.com/wp-content/uploads/2012/01/cage-adaptation2.jpg (Accessed on: 03/10/12)

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Bibliography

Dempsey, Jough. (2005) Adaptation: Beyond Postmodern At:
http://cinema-review.com/films/000006/index.php (Accessed on: 03/10/12)

Ebert, Roger. (2005) Adaptation Review At: http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20021220/REVIEWS/212200302 (Accessed on: 03/10/12)

Gonsalves, Rob. (2005) Adaptation Review At:
http://www.efilmcritic.com/review.php?movie=6436&reviewer=416 (Accessed on: 03/10/12)

Stay, Luke. (2005) An Adaptation of Post-Modernism At:
http://www.lukestay.com/film-analyses/adaptation (Accessed on: 03/10/11)