Kill Bill: Vol. 1
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A Note Regarding Spoilers

The following FAQ entries may contain spoilers. Only the biggest ones (if any) will be covered with spoiler tags. Spoiler tags have been used sparingly in order to make the page more readable.

For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for Kill Bill: Vol. 1 can be found here.

During the shot where you see her sword, it is specifically designed to show other passenger's swords as well, to get you to think about this. And if you look closely, you will also see that the plane has special holders for the swords. Don't forget that fantasy plays a big role in this film and, in Tarantino's world, people are allowed to carry their swords in air travel. In the next scene, in the Tokyo airport terminal, you can briefly see several people carrying around swords, like if they have been travelling with them.

In vol. 1, we are supposed to think of her simply as a killer. We don't know her or her background (or her name), so we cannot connect with her on the same level. We don't really know why she is after the Vipers, except for the fact that they tried to kill her and her baby. Perhaps she did something to screw them over that we were never shown, and they had a good reason to 'get back' at her. We do not know the whole score in the first volume, so she is just an unknown killer. In vol. 2 we learn her story and why she deserves her revenge and in vol. 2, she earns a name.

In some cultures they teach you a way to tell many different things just by looking at the lines of the palm. So it is assumed that she read those lines to judge the amount of time she was out. Notice the close up shot of those lines before she says "4 years?"

No, just like we are not supposed to believe that arterial spray is that insane and that a very, very old Chinese man can stand on the tip of an outstretched sword (as happens in vol. 2). The film generally does not take a hard, realistic tone. It's possible that it could have been near the beginning of Buck's eight hour (or possibly longer) shift when The Bride took him out. Perhaps the next nurse coming in decided not to check on them for a while because s/he had other things to do, and no one found the bloody mess in the room for over thirteen hours. They were in the coma ward, where nurses possibly didn't check on the patients that often. By the time he was found, with all the usual shock of the discovery of a double homicide, it's entirely possible they didn't get around to checking his truck by the time the Bride left. Not to mention, if they did check for his truck they would see that it was still there, and possibly wouldn't check inside. Seeing as how the truck wasn't stolen, they may not have found it necessary to check it. The Bride also takes the keys to Buck's truck, and without those for identification, no one else might have known which car belonged to Buck.

Likely to test to see if The Bride had any skill with a katana, which she proves by slicing the baseball in half.

Obviously, we don't know, seeing as how it wasn't explained. But the best theory is that Bill used Hanzo's teachings for evil. He solely used it to kill people for profit and personal gain. As far as we know, Bill had no spiritual or moral benefit from his training or, if he did when he was younger, he'd long ago discarded it for a life of crime.

If you look at the windows while the House of Blue Leaves scene is taking place, you can see the snow starting to fall. A small snow storm therefore may have started when The Bride first came inside. For example, when O-Ren walks over the dance floor with the few Crazy 88s towards the beginning of the scene, there is a nice shot of a window and you can clearly see the snow falling. On an artistic level, this scene was written as an homage to the film Lady Snowblood, which Kill Bill was heavily inspired by. In said film, a similar setting is used for a swordfight. And it also adds to the slight undertone of mysticism throughout the film.

When The Bride and Vernita are having coffee, The Bride says "Not a goddamn fucking thing you've done in the subsequent four years, including getting knocked up, is going to change that," and then later says that it would be fair of her to kill not only Vernita but her daughter and the good doctor. That said, by the timeline the movie sets up, it's actually impossible for Vernita to not have been already pregnant during the Two Pines massacre. The Bride woke up four years, six months later and Nikki was four years old in Kill Bill I. Thus, Vernita would have to have been at least three months pregnant at the time. The doctor could still have been the father (although how he got hooked up with the still-an-assassin Vernita is unknown but not entirely implausible) and it's not a plothole that The Bride would have no idea Vernita was pregnant, since they'd been out of touch.

Because he dared not speak his name, as Bill was a disgrace as a student, using Hanzo's teachings for murder and profit.

Nothing has been officially credited. However, when promoting this film, Quentin was asked on an episode of The View if he gave himself a cameo in the film. Quentin said that after The Bride decimated the Crazy 88, she looks out over the carnage and there are dozens of dead, mutilated bodies. Quentin said he put on the Kato mask and the suit and laid in amongst the bodies and played a dead member of the 88.

It says "Fuck U." The sneakers are Asics Onitsuka Tiger Tai Chi model. The soles were probably specially made for the shot where the Bride walks across the glass. There's also a brief glimpse of one when she's riding her cycle to the House of Blue Leaves, but it's easy to miss.

Entropy is a state of disorganization or chaos, (specifically; a measure of the unavailable energy in a closed thermodynamic system). However, the word here was actually a flub by Uma Thurman. In an interview, she said that the line actually read "atrophy" but that she accidentally said "entropy" instead. They liked how it sounded, so they left it.

Vincent Vega (Pulp Fiction) and Victor Vega (Reservoir Dogs) are brothers.

Laurence Dimmick a.k.a. Mr. White (Reservoir Dogs) and Jimmy Dimmick (Pulp Fiction) may be related somehow.

Jack Scagnetti (Natural Born Killers) and Seymour Scagnetti (mentioned in Reservoir Dogs) could be related.

Drexl Spivey (True Romance) and Marsellus Spivey (mentioned in Reservoir Dogs) could be related.

Earl McGraw (From Dusk Till Dawn, Kill Bill Vol. 1, Grindhouse) and Edgar McGraw (From Dusk till Dawn 2, Kill Bill Vol. 1, Grindhouse) are father and son.

Bill and Budd are brothers.

Sgt. Donny Donowitz (Inglorious Basterds) and Lee Donowitz (True Romance) are father and son.

Note that some of the names of the characters somewhat correspond with the "career choice" of the other, an example being that Drexl is a pimp and Marsellus was a diamond fence who was doing 20 years in prison. Jack Scagnetti was a popular detective and Seymour was a parole officer, etc.

This takes some work, but all of the above films all exist within the same movie universe. There are several links between all of the movies that can be made. The best link is the character of Earl McGraw who appears in all of the movie's plots. McGraw dies at the start of From Dusk Till Dawn, so this would place From Dusk Til Dawn's events at the end of the timeline. Then there is Jasper who is alive in the Death Proof segment of Grindhouse, but dies in Kill Bill Vol 1. There is also the link of El Wray from the Planet Terror segment of Grindhouse and the town that Seth Gecko and Richard Gecko were heading to in From Dusk Til Dawn, which was also called "El Wray". Another link is Dr. Dakota Block who appears in both the Death Proof and Planet Terror segments of Grindhouse, and this is the best place to start. Dr Dakota Block is also the daughter of Earl McGraw and sister of Edgar McGraw who also appears in Kill Bill Vol 1 and From Dusk Till Dawn 2: Texas Blood Money.

From this you can start to piece together the chronology of the universe. The events of Death Proof must happen before the events of Planet Terror. This can be assumed by the relationship between Dr Dakota Block and Earl McGraw that is frayed in Death Proof and most of Planet Terror, but they do make up by the end of Planet Terror. Also the lack of "sickos" in Death Proof would suggest this is before Planet Terror. Plus, Block leaves at the end of Planet Terror, but is back working in the hospital in Death Proof. There is also a mention "in memory of" over the radio of Jungle Julia from Death Proof in the events of Planet Terror. So far, we have (1) Death Proof and (2) Planet Terror.

Then we can move on to Jasper. As he is alive in Death Proof but dies in Kill Bill Vol 1, that would place the (current) events of Kill Bill Vol 1 and Kill Bill Vol 2 after the events of Death Proof. Thus, (1) Death Proof, (2) Planet Terror, (3) Kill Bill Vol 1, and (4) Kill Bill Vol 2. Then onto Earl McGraw who is alive in Death Proof, Planet Terror, and Kill Bill Vol 1 but is killed in From Dusk Til Dawn, leading us to (1) Death Proof, (2) Planet Terror, (3) Kill Bill Vol 1, (4) Kill Bill Vol 2, and (5) From Dusk Til Dawn. But you have to include From Dusk Til Dawn 2: Texas Blood Money and From Dusk Till Dawn 3: The Hangman's Daughter. Edgar McGraw makes reference to the events and death of his father Earl in FDTD2: Texas Blood Money, which obviously sets this film after From Dusk Til Dawn. Then FDTD3: The Hangman's Daughter is actually a prequel set in the 1800's, therefore it's the earliest of the connections.

In sum, chronologically the films go: (1) From Dusk Til Dawn 3: The Hangman's Daughter, (2) Death Proof, (3) Planet Terror, (4) Kill Bill Vol 1, (5) Kill Bill Vol 2, (6) From Dusk Til Dawn, and (7) From Dusk Til Dawn 2: Texas Blood Money.

The uncensored DVD edition of Quentin Tarantino's homage to the Asian cinema has been released only in Japan so far, and therefore is simply one of the most discussed versions. Tarantino mentioned the longer Japanese version in an interview even before the theatrical release, thus additionally heating up the discussion. The final scene, which can be seen in full color in the JP version only, and also other extended scenes of violence made this version extremely popular. A detailed comparison between the theatrical version and the unrated version with pictures can be found here.

"Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra: Opening titles, "I was five and he was six/we rode on horses made of sticks/he wore black and I wore white/he would always win the fight/bang bang" etc. Also plays when The Bride enters Hanzo's sushi shop, but only a brief riff.

"Music Box Dancer" by Richard Abel: Sounds like an ice cream truck; the Bride pulls up and stops in front of Vernita Green's house, checks her list, and rings the doorbell.

"Ironside (Excerpt)" by Quincy Jones: Commonly referred to [in the script anyway] as the Bride's "Vengeance theme," the screen turns orange as flashbacks of The Bride taking a pounding are shown. Means ass-kickery will ensue.

"That Certain Female" by Charlie Feathers: Cop drives through desert in car to wedding chapel; he's got sunglasses on his dashboard, wears a cowboy hat.

"Twisted Nerve" by Bernard Hermann: Elle whistles as she walks from her car to The Bride's room, the same tune a strange man whistles as he walks down the hall in Twisted Nerve. Elle gets dressed into her nurse's outfit and draws red liquid into a syringe.

"7 Note In Nero (7 Notes In Black)" by Vince Tempera & Orchestra: The Bride kills the man who was going to rape her; begins shortly after the blackout. The Bride finds out her legs aren't working, falls flat on her face, finds a buck knife [how . . . well, not ironic, but still], and slices Buck's Achilles' Tendon.

"Truck Turner" by Isaac Hayes: The Bride searches the parking deck for Buck's Pussy Wagon. She finds it, checks the keys--yep, that's it.

"The Grand Duel, M10" by Luis Bacalov: The "Wiggle your big toe" scene.

"The Grand Duel (Parte Prima)" by Luis Bacalov: 1st part of the anime sequence.

"I Lunghi Giorni Della Vendetta" by Armando Trovajoli: O-Ren's father is killed by the Yakuza.

"Run Fay Run" by Isaac Hayes: Sniper O-Ren shoots a man in an entourage of limousines; he's got a beautiful woman on each arm.

"Bang Bang (Excerpt)" by Nancy Sinatra: The Bride enters Hanzo's sushi shop.

"Wound That Heals (aka Kaifuku Suru Kizu)" by Salyu: The Bride looks over rack after rack of swords in Hanzo's attic.

"The Lonely Shepherd" by Zamfir: Hanzo inspects and gives the sword to The Bride.

"Armundo" by David Allen Young: The presentation of Sofie Fatale, GoGo Yubari and Johnny Mo.

"Yakuza Oren 1" by The RZA: O-Ren speaks to the Crime Council after decapitating Boss Tanaka.

"Green Hornet" by Al Hirt: The Bride arrives by plane in Tokyo, walks through the airport. Gogo drives O-Ren through town surrounded by men on motorcycles. The Bride flies through town on her yellow motorcycle.

"Battle Without Honor Or Humanity" by Tomoyasu Hotei: The Bride speeds away at the stoplight; O-Ren and subordinates walk through House of Blue Leaves.

"I Walk Like Jane Mansfield" by The 5.6.7.8s: Ends as O-Ren enters.

"I'm Blue" by The 5.6.7.8s: Plays during the scene involving O-Ren's dart and Gogo's investigation.

"Woo Hoo" by The 5.6.7.8s: Long shot of The Bride walking through restaurant to bathroom, Sofie walking to bathroom, ends with The Bride hearing Sofie's ringtone.

"Ironside (Excerpt)" by Quincy Jones: The Bride sees Sofie in the ladies room. Vengeance theme.

"From Man to Man" by Ennio Morricone: The Bride calls out O-Ren Ishii. O-Ren watches The Bride slice off Sofie Fatale's arm, and the restaurant patrons exit the building as she bleeds profusely.

Soundeffects by Flip Sting: The Bride vs Gogo--The Bride backflips over Gogo's ball-and-chain.

"Crane" by The RZA: The Bride, surrounded by Crazy 88s looks at them in the reflection on her sword.

"I Giorni Dell'Ira (Day Of Anger)" by Riz Ortolani: The Bride removes a Crazy 88s eyeball; we switch to black-and-white.

"Champions Of Death" by Shuzsuko Kibushi: The Bride faces off against Johnny Mo's two swords upstairs.

"Super 16 (Excerpt)" by NEU!: O-Ren retreats to the garden.

"Police Check Point" by Harry Betts: The Bride fights Crazy 88s, flips over one's back.

"White Lightning" by Charles Bernstein: The Bride is cornered with a speared Crazy 88; gets an idea.

"Nobody But Me" by The Human Beinz: The Bride, two swords, slices off legs of Crazy 88s.

"Banister Fight" by The RZA: The Bride and Johnny Mo face off whilst standing on a banister. The Bride slices his legs off.

"Don't Let Me Be Misunderstood" by Santa Esmeralda: O-Ren removes her shoes, and she and The Bride fight; ends when The Bride's back is sliced open.

"The Flower Of Carnage (Shura No Hama)" by Meiko Kaji: O-Ren drops her sword; she's been scalped.

"Yagyu Conspiracy" by Toshiaki Tsushima: Background music of the "second reason" speech The Bride makes to Sofie Fatale while she lies in the trunk of her car.

"The Lonely Shepherd" by Zamfir: The Bride writes her death list on the plane/end titles.

"Urami Bushi" by Meiko Kaji: End titles.

Page last updated by myturn21, 2 weeks ago
Top 5 Contributors: FreelanceStuntdouble, bj_kuehl, MikeLowrey5, eixid_26, ngage3650

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