Bohemian Rhapsody on a lost highway . Review on Kill Bill Movie

There can’t be one more Quentin Tarantino in & around the film fraternity these days working professionally, certainly not in this generation & certainly not in Hollywood no more.

His 2004 martial arts epic titled “Kill Bill” reminds me of a small-kid lurking behind the façade of a giant-big Sierra screen, doing curtain-pulling & alarm whistling & stuff on an interval basis, whilst clock-working his way from morning till evening purely based on the interest, the zest & the passion for the job and nothing else except that unrequited passion.

If you’re a faint at heart then “Kill Bill”, as the title suggests, is definitely not the movie you or your family or your kids would want to see as a matter of fact.

This is Tarantino’s homage for the Japanese Martial arts movies meet the blood & filth of a last grade American Slasher movie from the 80’s with over-the-top, gratuitous & often gruesome violence being slashed out at the audience from top to bottom.

Throughout the movie all we see is people stabbing at each other like a fencing game, it’s heroine plucking the eye’s of her opponent like King Mike Tyson the boxer & heads being rolled along the ground & blood spilling pretty much everywhere except the camera.

But wait! It’s all been done with the literary artistry, the technical brilliance & the audacious poetry of a dancing fountain imagery combined with the aesthetics of a Beethoven’s zap-zap symphony played on fast, forward mode –( I still had to say that).!

There isn’t an instant of plot in the movie except the thin-line of a ticked in revenge story, which kicks in the moment the credits roll in – “Revenge is a dish best served cold” – and there isn’t an ounce of sense that went into the making of this movie which could make you say “This is a profound expedition of mythical, myriad, metaphor on human emotions.!”

Once the miniscule of the plot kicks in, there’s no shortage of adrenaline pumping action here & the style, the composition of movement & the background score is as such that Quentin, along with his technical crafts team catapults the movie all the way through its finishing line.

Quentin narrates the story quite superbly and as long as he keeps the pacing sky high, believe me, it’s hard to take your eyes of the screen even for a micro second even with the all obscenity and the abattoir of a revenge big shot that is slashed at the audience.

Kill Bill is the cinematic equivalent of how a blatant martial arts movie would look like or should look-like & Tarantino treats this subject within the framework of a so & so action-seeker’s, movie-geek’s formula.

He never compensates on the storytelling, the artistic values or even the technicalities of the medium which so many others often tend to commit - whilst echoing the sheer technical brilliance of Akira Kurasawa & Stephen Spielberg – the two great directors from whom he seem to have inked this stuff especially in terms of style & graphic.

We know the folk lore’s of how Kurasawa escalated his martial arts hokum’s into everlasting cinema artichokes and how a prodigious Stephen Spielberg made fun of the Nazi’s with those last grade Indiana Jones cinematic wonderments.

It may not merit oscar consideration on an automatic pilot but the physical audacity of Uma Thurman is what summarizes the movie & insane graphic brilliance.

Watching this film is like experiencing a “Bohemean Rhapsody” on a lost highway. You just don’t want the damn thing to end. You want it to go on & on & on. Quite brilliant stuff from Tarantino.