Why Kill Bill Vol. 1 is the perfect film.

"Art is subjective, but is it?"

Two of the many things I pride myself on being passionate about is: my love for stories and my opinions. To review a film I find to be bad seemed a little too easy. I believe It’s easy to notice when things are done wrong or when they disappoint your expectations. That considered, to appreciate something and to be able to put it into words to convince you of why ‘Kill Bill vol 1.’ is a perfect film, seemed like the perfect challenge.

First, the opening scene. I thought the lack of colour during the opening scene was almost too obviously a take on a old memory of her experience during her shotgun wedding. To my surprise, they choose to use it again during the infamous ‘Crazy 88 fight scene’. Since that scene was happening in the present, it brought to my attention that the artistic choice was based on not old memories, but paying respect to old films; specifically Japanese ones. Adding a bit of nostalgia to those who have appreciated this genre of film long before I was born to review it.

The soundtrack in any film is extremely important to the telling of the story. Tarantino’s sound team absolutely nailed it with their choices, I couldn’t have asked for better. The opening song choice ‘Bang Bang (My baby shot me down)’, by Nancy Sinatra, literally sings the premise the entire Kill Bill franchise was built on. Having such an accurate opener sets the tone for what to expect and not only emotionally preparing you but exciting you at the same time. They throughout the movie use the music to tell you what is happening without a single piece of dialogue. For instance, when The Bride’s next kill comes into view, there’s a siren-like buzz acting as an internal alarm system which I can only assume mimics her heartbeat rising, giving the audience the anxiety they need to feel what she’s feeling. A movie that can do that without making it feel almost like a gimmick to me, wins serious points.

‘Vol 1.’ is not a comedy nor ever claimed to be one, but with the satirical comic style approach to character interaction, you can’t help but feel somewhat numb to the severity of the brutal deaths. I can only guess that was its purpose, or just Tarantino’s sense of humour. Either way, these breaks in tension adds personality that is far from forced. On the topic of deaths, the fight scenes are undeniably iconic. The choreography simultaneously keeps you on the edge of your seat as well as relaxed due to how in synch everything is. Not one misstep, not one movement unnatural. Not to mention, the ever changing angles and cuts during said scenes never fail to give the intensity the flow it needs to feel authentic without blinding you from seeing what’s happening.

Rewatchability. Not all the events that take place are in consecutive order to the chapters, which gives you no choice but to keep asking questions and keep you paying attention. This method encourages you to piece together your own timeline, depending on how that’s executed sometimes that’s the fine line between a good and bad film. With no

holes in the plot and everything coming full circle, it feels even more fulfilling watching it the second time around.

There’s countless reasons why I don’t hold this film accountable to a single movie sin. The faceless vindictive villain who pulls the strings, foreshadowing easter eggs, a culturally diverse cast, high stakes that only increase, symbolism out the wazoo, the subtleties of body language and micro-expressions used, and last but not least for the killers of the storyline to never to be mistaken for just deadly female assassins, but deadly assassins that just so happen to be female. For Quentin Tarantino to take a concept that has been down hundreds of times in the past (a tragic love story/revenge piece) and to take it and make it an original cult classic reassures me that this film is worthy of a statement so bold to be “a perfect film”.