Stuart Lichtenberg: Genre and Kill Bill

Genre and "Kill Bill"



The great poet T.S. Eliot once said "Immature poets imitate; mature poets steal." Supposing this standard was applied to filmmakers, Quentin Tarantino would perhaps be the most mature director of our age. Tarantino has flirted with numerous genres throughout his career. Beginning with "Reservoir Dogs" (a crime thriller), moving to "Pulp Fiction" (a noir gangster film), and concluding with "Jackie Brown" (blaxploitation), his early career was peppered with broad inspiration and eclectic allusions to great films past. As much as these works were derived from their respective progenitors, nothing compares to Tarantino's fourth film, the four hour epic, "Kill Bill". This is a film that owes so much to its inspirations, discussion of the film is discussion about its prototypes. "Kill Bill" is a glorious smorgasbord of Spaghetti Western, Japanese Samurai Slasher, Chinese Kung-Fu, and American Noir. Even Japanese Animation plays a bit part. All of these influences meld together to form an unforgettable film.

Numerous settings act as backdrops to the plot. In the tradition of Western films, the American Southwest is the scenery for a good portion of the movie. The dusty hills and bluffs are especially evident in the second part of the film. One notable scene has our heroine walking across the sun-scorched plains, heat radiating from the ground. This particular shot is found in numerous Westerns, both American and Italian. The later part of the first half of the film takes place in a traditional Japanese hotel, complete with paper screen doors and lanterns. The most notable segment of this scene is the duel found at the conclusion. The snow-laden garden serves as a direct connection to samurai film. The serenity of the arena is an interesting juxtaposition with the chaotic and violent actions taking place. Chinese settings are brief, but vivid. These scenes are filled with stone ruins, mountain paths, and ancient pines; a real tribute to a Chinese landscape.

Sound plays an interesting role in the film, both in soundtrack and in diagetic sound. The score for the film, portions of which were composed by Wu-Tang Clan founder The RZA, fully plays upon the genres displayed on the screen. A noteworthy example of this is the end theme from Volume 1 of the film. This particular song begins with pan-pipes, reminding the viewer of the Asian influence in the movie. The song then changes timbre, incorporating trumpets and guitar. A Western theme seems to be the focus of the song suddenly. Sounds of battle dominate the diagetic realm. Exaggerated sword clashes and sounds of steel cutting the air (and flesh) stand out. These are almost cartoonish in their lack of realism, not that this detracts from the movie. It is supposed to emphasize the fantastical element to the film.

Scenery and sound aside, plot and theme are the central elements which make "Kill Bill" a highly derivative work. Interestingly enough, many notable Spaghetti Westerns are directly derived from Japanese samurai film ("Yojimbo" became "Fistful of Dollars", "The Seven Samurai" became "The Magnificent Seven"). These Japanese films were in turn, derived from early American Westerns, set with a Japanese historical setting. And from these, comes "Kill Bill". To be frank, the theme of the movie can be summarized in a single word: Revenge. Revenge films are a hallmark of both Asian and Western film. The wronged party seeks to avenge the wrongs done them. They train in battle, become strong, and exact their vengeance. The tradition of the 'Nameless Hero' of Sergio Leone films continues in "Kill Bill". "Kill Bill" even has the 'secret weapon', owned by the protagonist, that will be used on the quest for satisfaction. Violence is both extreme and frequent. Decapitations, disembowelments, and other bloodlettings occur at an astonishing rate. Tarantino had previously made extremely dialogue dependant films (see Reservoir Dogs). "Kill Bill" is a major departure in this regard. With the exception of several notable monologues, most dialogue is sparse; simple statements between two characters dominate most scenes.

There is an important distinction to make when talking about derivative works, and in particular "Kill Bill". Although the film is a product of its influences, it should be made clear that it is its own work. It is more a tribute than a hack. "Kill Bill" reminds us of several oft ignored or lambasted genres. It forces the viewer to reflect on the merits and style of Asian B-film and the American Western. Its purpose was to call attention to the styles and themes of its fathers, and to this end, it was a resounding success. In doing so, it has become a landmark film in its own right.