First, the aesthetics of violence. This film is full of Quentin's unique aesthetic style, large-scale bright red background rendering, and intuitive visual impact from knife to meat. Although the story is just a crude and even sloppy revenge story, it is also a significant difference between Quentin and most underground cult movies in Europe and America. The deliberately shoddy story makes the whole movie avoid many social mappings and connotations. For example, unlike Saw's complicated character setting and environment setting, Kill Bill plans the scene of bloody violence on a rough plane, flattens the characters and stories, makes the audience pay more attention to the actions of both sides rather than the motives, and exaggerates the visual impact of various pictures.
Secondly, the mysterious aesthetics of the East. There is a plot in ipartment. Tang Youyou and Guangu watch Kill Bill again every Christmas. This is actually not just a stalk. This film, which focuses on the revenge story of individual heroes in western movies, contains various oriental elements, and does have the charm and strength to attract orientals.
It draws lessons from the animation treatment of bloody scenes in Lola Run, and improves the drama of the whole movie. On the premise of determining the basic plot, it adds oriental cultural symbols: geisha, schoolgirl and even Bruce Lee's yellow dress. A large number of scenes in Kill Bill, such as Taoist temples, Japanese pubs, martial arts schools and snow scenes by the bridge, can be used as Quentin's attempt to deconstruct the mysterious aesthetics of the East from a western perspective.
In fact, the classic Kill Bill is not a story, nor is it a reflection on human nature. After all, the heroine has some obsession and nothing to reflect on. The powerful charm of this film lies in Quentin's use of all the means he can, including wonderful soundtrack, bloody melee, powerful modeling and planning. At the beginning of this century, he left a western story to people with the help of oriental means. Of course, we can't analyze whether such a film is suspected of malicious misinterpretation and ugliness from the perspective of pure culture, and we can't even feel how crude Quentin's understanding of oriental culture is, because after all, the story of Kill Bill is so bad that it doesn't touch the cultural connotation at all. Compared with Memoirs of a Geisha, the simple cultural symbol of killing Bill cannot be piled up.
In a word, Kill Bill can deconstruct oriental symbols from its own unique perspective and apply them to western films, which opened the door for later films, including Kung Fu Panda and Transformers 4.