Tarantino’s love for the color “yellow” is intriguing; understandable, but equally intriguing.
Tarantino lyricizes violence in a groovy rhythm. You’d have to have a strong willpower to not cave into his admittedly derived and catchy style. The writer and director Quentin Tarantino is honoring B grade films. In this phase of his filmography, he, with his multiple times collaborator Robert Rodriguez were just goofing around and securing their childhood memories. Tarantino loves those comic book films, not the superhero ones, but the more simple, revenge based commercial cinema that gives its viewers a cathartic release on a weekend after they are pinned down by the entire world. But this “escaping from reality” film and the aficionado puppeteering this bloodbath show shouldn’t be taken lightly.
Grounding the most elaborative action sequences is Tarantino’s finest mythological speech soldering the entire activity. In fact, Django Unchained, which is also created with keeping these very comic book stories in mind, doesn’t ever fully circles back to that “wham”, “bam” or “pow”. In this note, Kill Bill (Vol. 1) succeeds majorly. For instance, despite having three dimensional characters and complex “he says, she says” storytelling, the narrator keeps us in check and up to date with all the tracks zooming in front of you.
Also, every single character is given a proper introduction, a stylish survey and slick one liners or quality to boast off. Take Lucy Liu’s storyline for a moment. If she is described, when she is described, the character isn’t bogged down by one emotion and isn’t showcased like a bad guy. If she assassinated a president, then he isn’t portrayed good enough for you to remove yourself apart from her. This is how Tarantino keeps in touch with his audience. He understands what the viewers might feel and would like to feel while going through an array of colorful destruction.