"Kill Bill": the cast, the director. "Kill Bill": interesting facts about the film

After the release of the 2003 movie Kill Bill: Vol. 1, one of the most influential trend-makers of the 1990s was filled with questions about why he had not filmed anything for six long years (after the creation of "Jackie Brown" in 1997). The director of "Kill Bill" without hesitation and hesitation replied that he did not want to repeat the mistake of other talented directors who, on the wave of triumph, hastily created a lot of poor-quality, running film works. According to Quentin Tarantino, he wanted to appear in the history of world cinema as the creator of exceptionally good films.

Aesthetic gangster cinema with martial arts

After watching the movie comes the understanding that the strategy that the director chose to "Kill Bill", makes him an advanced director of modern cinema. Tarantino, despite the status of a living film classics and age, remained enthusiastic, enthusiastic boy, with genuine admiration, citing his favorite cinematographers in author's works. An interesting fact is that each of the stories "Kill Bill" directed the director to one of them.

Raznogarrenovye short stories

"Bloodied Bride" and "Second Victim" are inspired by the "garbage" subgenre blaxploitation (a subsection of the operational cinema), in which Jackie Brown was also performed. In the First Novel, all attention is focused on the Bride (actress Uma Thurman), who after a beating and a shot in the head comes to her senses in a hospital after a four-year coma. In The Second Victim, the Bride visits Vernita Greene (actress Vivika A. Fox), one of the band's killers, taking part in the massacre of her. Beatrix kills Vernita in front of her four-year-old daughter.

Novel "The story of O-Ren Ishii", narrating about the childhood tragedy, growing up and becoming the best female killer O-Ren Ishii (actress Lucy Lew). This story is an eloquent reference to the East Asian kung fu scenes, the fan of which the director of "Kill Bill" is from childhood. Like the "Disassembly in the House of Blue Leaves," Tarantino drew inspiration for the creation of the novel in The Fist of Fury (1972).

The actor's ensemble. Interesting Facts

If Quentin Tarantino did not see anyone else in the role of Bride-Beatrix, except his Muse Uma Thurman, whom he offered to play in the film on the thirtieth day of her birth, then the nominees Kevin Costner and Warren Beatty were considered for the role of the main antagonist of Bill. As a result, he was played by the charismatic David Carradine.

Actor Michael Parkis, embodied on the screen Earl McGraw (sheriff), as if transferred to the set "From Dusk Till Dawn", because his hero of the Texas ranger in the movie Tarantino in 1996 was called exactly the same.

Initially, the director planned to involve three actors of different nationalities, representing each of his own states: China - Jia Hui Liu, Japan - Sonny Chiba, America - David Carradine. According to the legend of the world direction, if the legendary Bruce Lee lived, he would do everything possible and impossible that he took part in his film.

One of the director's most beloved paintings is the "Royal Battle" (2000), so Quentin insisted on participating in his project Chiaki Kuriyama, who played the role of GoGo Yubari. The actress "repaid" the director. During the shooting of one of the episodes with her participation, I accidentally hit a metal ball on the chain standing behind the Tarantino camera.

In the role of O-Ren Ishii, the director initially saw only the Japanese actress, but almost on the day of the start of casting drew attention to the play of actress Lucy Lew in the film "Shanghai Noon". He was so delighted with her that he immediately changed the nationality of his heroine, inviting without casting for the role of O-Ren Lucy.

Festive fireworks

If especially skeptical film critics managed to find passing or unstressed moments in some projects of K. Tarantino, then in "Kill Bill" the director, whose name is known to every kinogurman, does not give such a chance. The development of the plot of the film is similar to a magnificent festive fireworks, in which there are no pauses. Since the fights of the heroines of the picture in the frying pans and knives and until the most climactic battle, the viewer has no opportunity to take a breath. However, even among such an inexorable feast of eyes, there is still one scene - the epic battle of the Bride with "88 rabid", which is not only the culmination, but also a small copy of the painting itself, its manifest, rammed up to 7 minutes. The director of the film "Kill Bill" deliberately visualizes the epithet often used to refer to his works - the "blood bath". The blood literally fills the pools, splashes with a fountain head, languidly draining over the lens of the camera lens.

Almost without dialogue

To the fourth under the account author's project the director "To kill Bill" has started in a position of a live film classics. Therefore, in a protracted climactic scene, he, as if once again wanting to show his zealous devotees his power, Tarantino deliberately binds himself on the legs and hands. To begin with, the director abandons the significant power of cinema - dialogues. Seven minutes the characters present in the frame, communicate with each other exclusively through the military cries of "cue!". After the American director, "Kill Bill" removes the color, leaving the black and white image (in the color visual solution, this scene was seen only by the unruffled Japanese), and then completely full of light, allowing the viewer to watch the dancers dancing in the death duel. This director's move was recognized by leading film critics as the most interesting moment in the film and an extraordinary decision in the history of cinema.

Range of attractions

However, the climax was only the final act in the widest range of eye-popping rides of the film. Quentin Tarantino used the full breadth of his director's soul. Among the main chips of the picture: a first-person shooting similar to a computer game, raising a fragile heroine over the head pierced by an opponent's sword, cutting the same human sword in half. All these episodes allowed film critics and ordinary viewers to argue long about the sense of proportion and good taste of Tarantino.

No one before the cult director could so gracefully and simultaneously shamelessly combine Japanese and Chinese. For this right after the release of the picture, many admirers of Oriental cinema seriously took up arms against an American barbarian. Frivolous treatment of Eastern traditions, many called frank rudeness, perhaps it was, but rudeness was elegant from the world of hooligan performances and art galleries.