Kill Bill: Vol. 1 (2003)

Note Générale:

8,2/10   

Réalisateur:

Quentin Tarantino

Scénaristes:

Quentin Tarantino (character The Bride) &
Uma Thurman (character The Bride) ...

Date de sortie:

10 octobre 2003 (USA)

Genre:

Action | Thriller

Accroche:

In the year 2003, Uma Thurman will kill Bill

Intrigue:

The Bride wakes up after a long coma. The baby that she carried before entering the coma is gone. The only thing on her mind is to have revenge on the assassination team that betrayed her - a team she was once part of.

Plot Keywords:

Bride | Assassin | Coma | Assassination | Revenge

Récompenses:

Nominated for Golden Globe. Another 12 wins & 41 nominations

Avis des utilisateurs:

An adrenaline-driven coaster-ride through gratingly bold and captivating martial-arts extravaganza.

Ensemble

Uma Thurman	...	The Bride
Lucy Liu	...	O-Ren Ishii
Vivica A. Fox	...	Vernita Green
Daryl Hannah	...	Elle Driver
David Carradine	...	Bill
Michael Madsen	...	Budd
Julie Dreyfus	...	Sofie Fatale
Chiaki Kuriyama	...	Gogo Yubari
Sonny Chiba	...	Hattori Hanzo
Chia Hui Liu	...	Johnny Mo (as Gordon Liu)
Michael Parks	...	Earl McGraw
Michael Bowen	...	Buck
Jun Kunimura	...	Boss Tanaka
Kenji Ohba	...	Bald Guy (Sushi Shop) (as Kenji Oba)
Yuki Kazamatsuri	...	Proprietor

Autre(s) titre(s):

Kill Bill (USA) (informal short title)
Kill Bill Part 1 (USA) (informal title)
Kill Bill: Volume 1 (USA) (alternative spelling)
Quentin Tarantino's Kill Bill: Volume One (USA) (promotional title)

MPAA:

Rated R for strong bloody violence, language and some sexual content.

Durée:

111 min | Japan:112 min

Pays:

USA

Langue:

Anglais | Japonais | Français

Couleur:

Noir et Blanc | Couleur

Rapport de forme:

2,35 : 1

Son:

DTS | Dolby Digital | SDDS

Classification:

Taiwan:R-18 | Malaysia:18SG (re-rating) | Canada:18A (Alberta/British Columbia) | Iceland:16 | Germany:18 | Hungary:18 | USA:NC-17 (Special Edition DVD) | South Korea:18 (re-rating) (cut) (DVD rating) (uncut) | Singapore:R(A) | New Zealand:R18 | Canada:R (Manitoba/Ontario) | Argentina:16 | Australia:R | Brazil:18 | Canada:16+ (Québec) | Canada:18 (Nova Scotia) | Chile:14 | Finland:K-18 | France:-16 | Hong Kong:III | Ireland:18 | Israel:16 | Italy:VM14 | Japan:R-15 | Netherlands:16 | Norway:18 | Philippines:R-18 | Poland:15 | Portugal:M/16 | South Africa:18 | South Korea:Limited (original rating) | Spain:18 | Sweden:15 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | UK:18 | USA:R (certificate #40294)

Lieux de tournage:

Austin, Texas, USA

Société:

Miramax Films

Anecdotes:

The sequences where an extreme close-up of the Bride's eyes is shown, juxtaposed with footage of the betrayal, whenever she sees a target of her revenge is taken verbatim from Da uomo a uomo (1967).

Goofs:

Continuité: When the bride fights the Crazy 88s. she unmasks a young kid who gives up. she throws him into several others, who land into a pool of bloody water. After the scene where she fights with the lights off, she narrowly avoids killing the same kid. He is fully dry, and his white dress shirt is stain free. She then chops his sword into pieces, he gives up and she spanks him.

Guillemet:

[first lines]
Bill: Do you find me sadistic? You know, I bet I could fry an egg on your head right now, if I wanted to. You know, Kiddo, I'd like to believe that you're aware enough even now to know that there's nothing sadistic in my actions. Well, maybe towards those other... jokers, but not you. No Kiddo, at this moment, this is me at my most...
[cocks pistol]
Bill: masochistic.
The Bride: Bill... it's your baby...
[BLAM!]

Connexions:

Références Year of the Dragon (1985)

Bande son:

Police Check Point

An adrenaline-driven coaster-ride through gratingly bold and captivating martial-arts extravaganza.

Sure it's outlandishly violent and bloody. Can anyone expect Tarantino's movie not to be a true mind-blowing, adrenaline-pumping shocker? Of course not! Gritty and slick, his first installment of KB rocks with moody western imagery, the '60s and '70s-era of Hong Kong martial arts-action, the influences of the ritualistic samurai swordsmanship, and Japanese anime. Like in all his films, Tarantino never fails to merge dark humor with terror. It's impossible not to smile over the Shaw Bros.' iconic introduction ploy and the De Palma-esque split screens. Observe the `Carrie' blank-starry eyed image settled on The Bride's gory face as she's introduced to the audience. Perhaps, Uma Thurman in her yellow suit is a salute to the yellow-suited Bruce Lee in his last film, The Game of Death. Or is The Bride 'Just another little Western girl playing at being a samurai' - as O-Ren Ishii blatantly puts it?

This film's a sampling of the Tarantino 'fury,' short of the Tarantino customary fiery tongue. It celebrates the Tarantino trademark of avoiding the use of computer-generated CGI special effects. It's almost as if I'm watching a colorful and bloodied kabuki stage that's displaying a stunningly massive tournament of multi-layered kung-fu and female samura sword-fighting styles to dazzle the audience. It's examining how Tarantino catalogues the great stylistic elements of his favorite 'old-school' filmmakers and transforms them into a phenomenally creative and mesmerizing film. Yep, there's a great deal of captivatingly artistic boldness in this film. Powerfully portrayed and not to be easily forgotten. Violently brutal and gloriously gory without doubt, and yet so aesthetically operatic and astoundingly artful. The music and lyrics that accompany the scenes are astounding. They set the moods so appropriately with the events.

Even at 'The House Of Blue Leaves', we get to see Tarantino weaving the artistic styles of Lucio Fulci, Chang-Che, Sergio Leone, Kurosawa, Zhang Yimou and Busby Berkeley to bring the audience a stylistic exhibit of remarkable montage grandeur. The themes of betrayal and revenge come off strong. Every camera shot and scene seems to scream out, non-stop, `Kill Bill and all of Bill's DVAS members.' My adrenaline's still flowing as I'm recalling the scenes. Tarantino has make a solid point with this film to show that martial arts scenes should stick to the artful and realistic choreographic treatment to sustain the true spiritual spirit of martial arts. A+