Kill Bill: Vol. 1 (2003)

After awakening from a four-year coma, a former assassin wreaks vengeance on the team of assassins who betrayed her.

Director:

Quentin Tarantino

Writers:

Quentin Tarantino, Quentin Tarantino (character The Bride) (as Q)

Stars:

Uma Thurman, David Carradine, Daryl Hannah

Top Rated Movies #174 | Nominated for 1 Golden Globe. Another 27 wins & 101 nominations.

Cast

Cast overview, first billed only:
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
Shin'ichi Chiba	...	Hattori Hanzo (as Sonny Chiba)
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

Storyline

The lead character, called 'The Bride,' was a member of the Deadly Viper Assassination Squad, led by her lover 'Bill.' Upon realizing she was pregnant with Bill's child, 'The Bride' decided to escape her life as a killer. She fled to Texas, met a young man, who, on the day of their wedding rehearsal was gunned down by an angry and jealous Bill (with the assistance of the Deadly Viper Assassination Squad). Four years later, 'The Bride' wakes from a coma, and discovers her baby is gone. She, then, decides to seek revenge upon the five people who destroyed her life and killed her baby. The saga of Kill Bill Volume I begins.

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Plot Keywords:

bride | revenge | sword | martial arts | female protagonist | 

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Taglines:

In the year 2003, Uma Thurman will kill Bill

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Genres:

Action | Crime | Thriller

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Motion Picture Rating (MPAA)

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

Details

Official Sites:

Official Facebook Official site

Country:

USA

Language:

English Japanese French

Release Date:

10 October 2003 (USA)

Also Known As:

Quentin Tarantino's Kill Bill: Volume One

Filming Locations:

American Cement Building, 2404 Wilshire Boulevard, Los Angeles, California, USA

Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend USA:

$22,089,322, 12 October 2003, Wide Release

Gross USA:

$70,099,045, 28 May 2012

Cumulative Worldwide Gross:

$180,949,045, 28 May 2012

Company Credits

Production Co:

Miramax, A Band Apart, Super Cool ManChu

Technical Specs

Runtime:

111 min

Sound Mix:

DTS Dolby Digital SDDS

Color:

Black and White Color

Aspect Ratio:

2.39 : 1

Did You Know?

Trivia

The blurry lights scene transition is the same as was used in The Man from U.N.C.L.E. (1964), which would also explain the title card for Chapter 4 "The MAN from Okinawa". If you listen really close, you can even hear the drum background used in The Man from U.N.C.L.E. (1964), which would suggest that Writer and Director Quentin Tarantino either went to a great deal of trouble to duplicate it, or just borrowed it from an actual The Man from U.N.C.L.E. (1964) episode.

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Goofs

In the "Origin of O-Ren Ishii" sequence, during the introduction of the character Sofie Fatale, the voice-over says Sofie is to O-Ren's right, when actually Sofie is to the camera's right, or O-Ren's left.

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Quotes

[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!]

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Crazy Credits

The opening credits do not include a writer or director but include the names of producers, casting directors, etc. The writer/director credit appears at the end of the film.

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Alternate Versions

Some prints of the film doesn't show the "Shaw Scope" intro.

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Connections

Featured in MsMojo: Top 10 Kickass Female Fight Scenes in Movies (2016)

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Soundtracks

Armundo
Written by David Allen Young
Performed by David Allen Young

User Reviews

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+