Showing posts with label David Carradine. Show all posts
Showing posts with label David Carradine. Show all posts

Monday 22 July 2019

Stop trying to hit me - and hit me ! ~ Morpheus

A response to re-watching Kill Bill : Vol. 1 (2003) and Vol. 2 (2004)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

22 July

A response to re-watching, but on a cinema-screen, Kill Bill :
Vol. 1 (2003) and Vol. 2 (2004)


For Jim 'TAKE ONE' Ross






In Kill Bill, Tarantino has set himself not only making a revenge story into a film, but also one where he has delayed addressing what happened that gave rise to it at least until the beginning of Vol. 2 (2004) - even if he does not completely do so until Beatrix Kiddo ('The Bride' / Uma Thurman) has tracked down and confronted Bill (David Carradine), whom we do not even see until Vol. 2.



Suspending the full account for what we have seen for around four hours (since Vol. 1 (2003) is very nearly two hours, and Vol. 2 is longer) puts an especial need to represent the 'chapters' of the film (and parts of them) in a way that makes them varied and discrete, because Tarantino has to maintain our interest in what we see, without our really knowing why we are seeing it.



In Vol. 1, Tarantino cannot resist the bloody fountains that are loosed by decapitation (Boss Tanaka / Jun Kunimura) or severing an arm (Sofie Fatale / Julie Dreyfus), and, whatever anatomical truth there may be in such depictions, he knows that he needs to keep the imagery fresh : so, for example, he switches into monochrome during the onslaught by The Crazy 88s ; when O-Ren Ishii first witnesses killing, he has it rendered in anime ; and The Bride’s first meeting with Hattori Hanzo¹ is quirkily in the style of a picture-story.


There is humour here (as well as passion), but there is more in Vol. 2, and it is more overt - for example, Gordon Liu (who headed The Crazy 88s in Vol. 1) as the amusingly tetchy Kung Fu Master Pai Mei. What remains covert and unexplained – and just as a given (apart from when alluded to in the edgily hilarious stand-off with Karen (Helen Kim) and the pregnancy-test) – is the exact purpose of Bill's having, at his disposal, the killers of The Deadly Viper Assassination Squad : because Tarantino wisely does not flesh it out, and Bill appears both a dilettante and fairly irrational, it seems to operate not as a commercial venture, but a vanity-project. (Which seems quite fitting.)


 When, as if to make a statement by their full deployment (though, for the reasons given, it is unclear what that statement would be²), they attack The Bride and her wedding-party, the squad comprises three other women and Bill’s brother, Budd (Michael Madsen). By the time of the opening of Vol. 1, two remain active (O-Ren (Lucy Liu) and Elle Driver (Daryl Hannah)), so it is not as if this is an outfit that one can never leave, because Budd (Michael Madsen) and Vernita Green (Vivica A. Fox) are in forms of domesticity, and, in Vol. 1, The Bride indeed meets (and kills) the latter in a stage of motherhood that is consistent with having quit from working for Bill soon afterwards.


We all deserve to die ~ Budd
[before he qualifies his utterance]


As we would expect with Tarantino, by Vol. 2 we have looped around on ourselves in this respect, and dialogue has forearmed us, at least, that The Bride’s daughter also survived the shooting (now called B.B., and played by Perla Haney-Jardine). (We know no more than that, or how Bill brought about the current state of affairs, but it must have been the influence of money - as in Chinatown (1974), a film-reference that has greater relevance below.)


Even without knowing the film itself, we may well doubt whether Bill’s influence as a parent is for good when we hear that one of those from which B.B. makes a choice, when she asks if her mother will watch a video with her, is Robert Houston and Kenji Misumi’s Shogun Assassin (1980) : at the same time as Tarantino also appears to be evoking the dubious battle, in Chinatown, for Evelyn Mulwray’s (Faye Dunaway’s) daughter Katherine, born to her own father (Noah Cross), he somehow satisfies us, at the end of the film(s), that The Bride and Bill have wholly different motivations, and that her motherhood will be very different from his fatherhood.

John Huston, James Hong, and Belinda Palmer in Chinatown (1974)

For all the deceptions that Evelyn Mulwray practises on J. J. Gittes (Jack Nicholson), and his indulgence of them (not patiently borne), perhaps we have good reason similarly to believe that she would have been kinder to her daughter than Noah Cross will be…






As co-creator with Tarantino of the character of The Bride, Uma Thurman carries us along with her.


Not unusually for the genre of revenge in film (or for its motives unfolding slowly and backwards), this story of a suffering figure, whom we see bloody and beaten, resembles the opposite of hagiography, or of the purpose of an allegory such as that of Constance in Chaucer's Clerk's tale in (The Canterbury Tales), because The Bride expressly endures to kill those who would have killed her and for that motivation :


She is identified strongly with motherhood only towards the end of Vol. 2, and, despite her having a daughter, killed Vernita Green (albeit not as intended) in Vol. 1. Vernita talks of somewhere else to go for a fight (as, later, Bill does), but means it only as a distraction from their murderous plans, whereas, in moonlight and unexpectedly fallen snow, O-Ren provides another an unexpected venue for their fight to the death (although, as she admits, she expected to have tired The Bride out indoors, with The Crazy 88s).



Revenge is never a straight line. It’s a forest, and, like a forest, it’s easy to lose your way, to get lost, to forget where you came in ~ Hattori Hanzo


Ashen when, Christ like, The Bride defeats the grave and cheats death, but still slogs it barefoot to rendezvous with Budd and Elle, she stands for some different force : driven by retribution, and, although she is calm, her serenity does not resemble that of The Annunciation from the predella of an altarpiece by Veneziano³, but the bloodiness and brutal energy of the deeds in A Miracle of St Zenobius, which, accompanying the former, helped form part of one whole :



For the life of the flesh is in the blood : and I have given it to you upon the altar to make an atonement for your souls ~ Leviticus 17 : 11a [KJV]


As if abiding by some code of honour (and in a scene that involves too much screeching⁴), we have seen Bill persuade Elle not to kill The Bride in her sleep. Yet, as we find at the close of Vol. 2, it is not, except on his terms, a sense of fairness such as suits him (as does her being in a coma, and the humiliations to which it subjects her ?).

The familiar Orwellian allusion will not escape us when we see that Bill is in Room 101 in the complex where The Bride finds him - just as, by firing a dart at her, he does not allow her to escape saying that she did not believe that marrying Tommy Plympton would actually work out.


Although the immobility of The Bride's bottom half is alluded to by Buck (during his coarse briefing to the sex-client who wants to sleep with her), she is arbitrarily still accorded use of her arms and torso. Having freed herself from Buck, she is seen exerting herself to retire to the back-seats of his Pussy Wagon, and willing strength to exist and make itself manifest in her lower body - a scene that Tarantino and Thurman's characterization has given such emphasis (through voice-over and her repeated injunction to her big toe) that we know, and should keep recalling, how extraordinary are the powers, now and later, with which she gains control of her physical body.



Talking to The Bride at the close of Kill Bill, as well as saying – an understatement ! – that he over-reacted when she disappeared, Bill claims that motherhood was not going to change her nature as a killer.


By the incidental bite of a mosquito (as she is a form of Sleeping Beauty), The Bride woke to a full and vivid awareness of the enormity of the horror of what happened to put her in a coma⁵. We have since seen her screw her energies to kill all those who denied her motherhood and would have stood in her way, as it turns out, of getting not only to Bill, but to her daughter.



The conundrum that the film poses is whether, by doing all that she did, she has actually proved him right.






Epilogue :



There is an entry for Kill Bill : Vol. 3 on IMDb, but, unless you have guessed, you might not wish to know what it tells you...


End-notes :

¹ It is just ‘one of these things’ about Kill Bill that The Bride is so easily able to enlist the services of Hattori Hanzo (Shin’ichi Chiba (Sonny Chiba), who also tutored the cast) just by alluding to the debt that he owes because of his former disciple (whom Hanzo himself readily identifies as Bill) – presumably, this is why he went into retirement, and breaks a sacred vow to come out of it (Bill, yet only through expedience, is surprised that he did).

² Beyond, that is, the impact in the internal world of the film(s), although voice-over tells us that, in news-reports, the killings went by at least two names – despite hearing the police chief’s pronouncements at the scene, we are simply not invited to consider in any detail what it would actually have looked like for four weapons to be used against less than a dozen unsuspecting people.

In the first film, we not only see the devastation, but also the plea from The Bride to Bill ; in the other, after the two have talked, the camera retires to a safe distance, up and to the left of the chapel, when the four assassins are entering, so that the episode becomes aural, not visual (as we have already seen, what was to be seen).


 ³ Domenico Veneziano (Domenico di Bartolomeo da Venezia) (1400-1461) ; painter ; Italian artist. Church of Sta. Lucia dei Magnoli, Florence : both panels are now in The Fitzwilliam Museum, Cambridge.

 ⁴ The 'marked-on' nature of Daryl Hannah's attire signifies more than it may seem. She may come good in her last couple of minutes on screen, but otherwise, unless Tarantino saw something in her in The Tie That Binds (1995) (or her role as Morticia Addams), she both seems an odd choice (as Sean O'Hagan put it, in The Observer, Tarantino's latest chosen candidate for career resurrection), and nearly did not carry it off. (Nonetheless, Kill Bill may have led on to other things for her.)

⁵ Although Almodóvar’s Talk to Her (Hable con ella) (2002) may look more like coma-care ?




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Saturday 8 February 2014

Scorsese’s hesitation about Kazantzakis

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)

8 February


This posting relates to a special screening at Wells Cathedral on 25 January


The last temptation is for Christ to get down off the cross and live the rest of His life as a normal human being
(Scorsese on Scorsese*, p. 124)

In his chapter in about The Last Temptation of Christ (1988) in this book, Scorsese talks about his collaboration with Paul Schrader, and how the latter produced a ninety-page script in four months (p. 117). Having been introduced to the original novel by Kazantzakis by Barbara Hershey and David Carradine in 1972 (p. 116), Scorsese says that this is what interested him about making a film of it :

I found the representation of Christ, stressing the human side of His nature without denying that He is God, the most accessible to me. His divine side doesn’t fully comprehend what the human side has to do; how He has to transform Himself and eventually become the sacrifice on the cross – Christ the man only learns about this a little at a time. In the whole first section of the book, He is acting purely on human emotions and human psychology, so He becomes confused and troubled. […]
(p. 116)

Talking about his own belief in relation to portraying Jesus in the film, Scorsese writes :

I believe that Jesus is fully divine, but the teaching at Catholic schools [Scorsese says that he has drifted away from the Church over the years, and is no longer a practising Catholic] placed such an emphasis on the divine side that if Jesus walked into a room, you’d know he was God because He glowed in the dark, instead of just being another person. But if He was like that, we always thought, then when the temptations came to Him, surely it was easy to resist them because He was God. He could reject the temptation of power in the desert; He could reject especially the temptation of sex; and He could undergo the suffering on the cross, because He knew what was going to happen, what death is all about.
(p. 124)

About involving Schrader by asking him to write a script, he comments :

Knowing that Paul Schrader and I have close affinities, I thought it would be interesting to see what a Calvinist approach to the book would be. It’s a very long book and I wanted a normal-length film, not a six-hour mini-series, so I thought Paul would be able to strip away all the unnecessary elements. The whole relationship between Mary Magdalene and the Apostles and how they were fighting with each other, all that was fascinating, but couldn’t be put in the film. […]
(p. 117)

Schrader and he discussed the treatment of the miracles (and the importance of the supernatural existing alongside the natural), and depicting Jesus terrified by them, not smiling (p. 118), as he gradually realizes that they lead to the cross (p. 120). For Scorsese, the key scene, when Jesus knows that He is God, is the raising of Lazarus, where Jesus is momentarily pulled into the tomb (the symbolism is clear), before leading Lazarus out (p. 143).

Scorsese acknowledges that some people have said that the book is more Kazantzakis than Jesus (p. 143), but he did go to the trouble of meeting the writer’s widow, and of exploring his life from staying in a monastery on Mount Athos to the books that he wrote in the last ten years of his life (p. 145).

Those who want to say that the film is blasphemous (see below), because it shows Jesus having sex with Mary Magdalene, seem not to bear in mind that neither Kazantzakis, nor Scorsese, is subscribing to the theory that Jesus actually did have a family with her – this is the content of the temptation, the ‘last’ of the title, that both book and film are about, but it is not saying that it happened, but what if Jesus were tempted on the cross to believe that he did not have to die there to fulfil his purpose ?

These are very different ascriptions to Kazantzakis and Scorsese, but those levelling the criticism seem slow to understand the difference. Regarding the relationship that the book puts at the centre of that last temptation, Scorsese has written :

One problem I have with the book is the relationship between Jesus and Mary Magdalene. If there had to be sexual temptation, it could be another woman; for it to be Mary seemed kind of obvious. And the fact that she became a whore specifically because he rejected her is almost as bad as the Hitchcock movie I Confess, where Montgomery Clift becomes a priest basically because he was jilted by Anne Baxter. As the young priest whom I adored when I was young said, that doesn’t happen, because you have to have a vocation otherwise you’d only last a week in the seminary ! I Confess is an interesting movie nevertheless, but I found a similar difficulty with Kazantzakis.
(p. 143)


Yet Scorsese seems not to have been put off, and writes about what he hoped for from the film :

[...] I found this an interesting idea, that the human nature of Jesus was fighting Him being God. I thought this would be great drama and force people to take Jesus seriously – at least to re-evaluate His teachings. […] So through the Kazantzakis novel I wanted to make the life of Jesus immediate and accessible to people who haven’t really thought about God in a long time. I certainly didn’t think the film would destroy the faith of those who believe strongly [Editor’s emphasis].
(p. 124)


The cynical may doubt Scorsese’s sincerity in the passages quoted above : of course, his motives and beliefs may be questioned, if one thinks that making the film is itself blasphemy. Here are two letter-writers points of comparson (they are said to have appeared in the Wells Journal on 23 January 2013 [sic]) :

One does not have to consider a crucifix immersed in a jar of urine as worthy of contemplation, despite any dubious claims to artistic merit either.
Paul Arblaster


The film’s photography and musical score are of good quality. The 1936 Olympic games stadium in Berlin was of good quality too. This is hardly the point.
Fr Ewan, Po Wo and Donna-Marie MacPherson


So Nazis, and a deliberate act of provocation, are the chosen points of reference ?


End-notes

* Faber & Faber, London, 1996, p. 124.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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