A seasoned FBI agent pursues Frank Abagnale Jr. who, before his 19th birthday, successfully forged millions of dollars' worth of checks while posing as a Pan Am pilot, a doctor, and a legal prosecutor.
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.Written by
The Bride's killing one of the Crazy 88 with a hatchet is a possible nod to Mannaja (1977), in which the main protagonist Blade (Maurizio Merli), a bounty hunter whose weapon of choice is a hatchet, seeks revenge upon McGowan for the death of his father. See more »
During the animated sequence in which O-Ren is shooting the foot off the blue-suited henchmen, the scene in which the foot is shot depicts a red suit, identical in color to the henchman who was previously shot. See more »
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...
Bill... it's your baby...
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Shin'ichi Chiba (Hattori Hanzo) is listed as the samurai sword advisor. He played a maker of samurai swords in the film. See more »
Additional differences between the Japanese DVD vs UK Blu Ray Versions:
The opening credit 'Japanese Anime Production I.G., Tokyo Japan' replaces 'Special Effects Make-Up KNB EFX Group' and in the closing credits KNB replaces Production I.G.
When Gogo disembowels the Tokyo Business Man at the Bar, the blood spray goes on 1 second longer.
After Sofie has her Arm chopped off audio is the same but shot stays on Sophie spraying blood 1/2 second longer before going to the close up of O-Ren.
The Close up of Sofie spurting blood on the floor (Just before O-Ren says "Beat it Charlie Brown") is 3/4 of a second longer.
There are additional credits in Japanese after the English credits.
Just saw Kill Bill: Vol. 1 and was surprised, to be honest, at how incredibly GOOD this film is. Here is a craftsman (or artist, if you prefer) at the top of his game. Some of the shots are simply incredible; the score is, for the most part, vintage Tarantino selections- and the RZA does a very good job at filling the blanks; Uma Thurman is a great female lead, for sheer presence (and decent acting chops). Even Lucy Liu, who I expected was going to re-hash her Charlie's Angel character, burst on the scene like a flaming nunchuck.
The stringing together of the scenes was impeccable. The transitions, the intercutting between dialogue, the flashbacks... I simply could not get enough. Tarantino IS, indeed, having fun here. He is giving us a film that may not go down as a classic, Pulp Fiction style, but that shows us what is yet to come. I doubt that he's lost his writing talents (as some have claimed), and I actually disagree that the dialogue in the film is "poor", or that there are "no memorable lines" (Empire). The kung-fu genre has never been a particularly good park to display Shakespearean writing virtuosisms. The lines work fine. The plot is simple enough, but Tarantino takes a burger and serves it as "steak tartare with sauce au poivre and asparagus terrine". He basically manages to cram so much information into the film that plot is simply irrelevent. What is relevent is the Bride's thirst for blood, her primal sense of vengeance and our total devotion to her. Bill, of course, is one of the greatest characters to ever NOT appear on screen. Overall, a great movie and an example of how a filmmaker's tool is not his pen: it's his eye.
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