Kill Bill Vol.2

Some people would suggest that Kill Bill vol.2 is not as good as vol.1, and in this case I would probably have to agree. However, vol.2 still carries a lot of great themes, ideas and most importantly, great cinematography. Like all of Quentin Tarantino film, the scene lines, sets and cinematography are very artistic, lifelike and easy to watch. They carry such a smooth transition between each shot. Although, most of his films follow the composition rules (or rule of thirds), some of his shots reject this rule and most of the time Tarantino pulls it off.

The scene where Bill and Kiddo are sitting talking at the fire presents a front on shot with Kiddo on the left and Bill on the right on either sides of the fire. Usually, this 180 degree talking shot would not carry two people talking face on in the one shot Tarantino breaks up the shot with the crackling fire in the middle of the screen. Also Bill is sitting at a slightly higher angle than Kiddo (suggesting superiority) with a sloping mountain pass in the background. It creates somewhat an artistic feel to the shot that in theory shouldn’t be acceptable.

When Kiddo goes to see the master up in the temple, the first seen where she sees him, he is sitting in the centre of the shot covering barely just the centre of the shot. However, the shot includes, perfect horizontal lines where the master is sitting (stairs) which balances the shot horizontally and for the vertical there is a statue that is sitting to the left hand side of the screen yet again making perfect balance creating an artistic feel.

My favourite shot of many in the movie is the shot sequence when Kiddo is returning through the desert. The shot begins with the sun flare centre screen and fading into another shot with Kiddo emerging where the flare was position. You see her walk towards the middle of the shot with heat waves beaming off the desert sand. She’s the only one in focus. She is dirty, wearing no shoes, but as the camera slowly closes in and she gets to the top of the mountain the camera acts as her eyes panning from here left to right focusing on the car pulling into the caravan. The camera then switches sides and a close up of her dirty yet determined face floods the shot and zooms right into to her eyes. It gives you a sense that revenge is just around the corner.


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