You are currently browsing the tag archive for the ‘Kill Bill’ tag.

The Wu-Tang Clan created a unique sound in the 90s by sampling old kung fu movies into violent but passionate hip-hop lyrics — there was a combination of the east and west that was slightly more celebratory than the other east/west mashup where 90s rap is concerned. This fusion of martial arts’ philosophical themes and styles with the poetic and hard-hitting music creates a fascinating aesthetic that’s sustained a multitude of titles since. We’re finally seeing a major, mainstream entry in this legacy, with directorial guidance from the RZA himself — an expert in martial arts films and no stranger to the movie industry.

If you want to know what to expect with The Man with the Iron Fists or just want to see where the RZA is coming from, check out the following…

Samurai Champloo

This doesn’t have direct involvement from the RZA, but director Shinichiro Watanabe is familiar with combining a distinct musical style with specific film genres. Here it’s chambara film and hip-hop, with a killer opening song and frequent, kinetic action scenes. Champloo is a very good anime series but suffers from Watanabe’s own filmography — his previous Cowboy Bebop is considered to be the greatest anime series of all time. When you follow that with a very good anime — well, you can do the math. The series is consistent, dramatic, and frequently humorous. The characters are fun, and the overall feel is hip and stylish. The ending song is also great.

Shogun Assassin

This is one of the few movies where the English dub is actually mandatory. If you see it in the original language track you’ll miss the dialogue that the GZA sampled into various instrumentals on Liquid Swords. It’s small wonder why this film made such an impact on the Wu-Tang founder — it’s a strange little gem, completely unafraid of excessive sprays of blood and even violence against women: the kind that might make you cringe, but it’s all in good fun. And what’s more fun than seeing a badass baby riding around in a baby cart built of weapons with his stoic samurai dad? The ultimate family movie. It’s actually an edit of the first two Lone Wolf and Cub movies, so it takes all the action bits, and leaves out assumedly plenty of story. The Lone Wolf manga was penned by Kazuo Koike, author of among other things, Lady Snowblood, the adaptation of which had a major influence on the next on the list…

Kill Bill

Yep, that’s him alright. An alarming deletion of scene from Part II, where Bill fights this let’s say, Dynamite, Samurai

The RZA scored this, the original ‘two tickets, one movie,’ dealio back from when we didn’t know about a Harry Potter 7 or Twilight 4. Luckily this is one of Tarantino’s best, a balls-insane mashup of Italian westerns, Shaw Brothers kung-fu, samurai epics, and the gorier pieces of Japanese cinema a la Fukasaku and Miike. The Man with the Iron Fists is being produced by Tarantino, so I imagine the RZA will be benefitting here from an established creative relationship, as he does consider the great genrebuster a mentor. It might also, however, be like Frank Miller coming off of Sin City with The Spirit. Let’s hope not.

Afro Samurai

I’ve only seen the first episode. Interesting, but I haven’t heard great things about it. This is probably more hip-hop than samurai, if Champloo was more samurai than hip-hop, but I’ve never heard anyone call it better than its Japanese counterpart.

Ghost Dog: The Way of the Samurai

Before the RZA’s directorial debut, Ghost Dog was definitely the quintessential Wu-Tang movie. It features Forest Whitaker as a Mafia hit man who lives by the code of the samurai. It’s a mostly tacit lifestyle, filled with night-driving and hanging out with the odd gallery of friends he amasses in a French ice cream truck guy and a scholarly little girl. It is a lifestyle punctuated by violence nonetheless, and the action in this movie is sparse but effective, particularly with Ghost Dog’s first kill.

Ghost Dog ‘sheathes’ his silenced pistols much in the way a samurai would a sword, and practices martial arts on the lonely New York rooftops, up there with the pigeons, his preferred mode of communication with the outside world. This is a quirky if uneven film, funny in places and dark in others, but overall an iconic example of the gangsta/samurai aesthetic, and proud piece in a legacy following films like Le Samourai and those of Kurosawa — it isn’t revision so much as it is celebration.

Celebration I’d say is a key theme. There’s an appreciation of many cultures, and a tolerance of such things that’s unprecedented in violent macho movies. Ghost Dog is very in tune with his inner spirit, and is able to communicate with his best friend the ice cream guy by pushing through the language barrier — it’s a deeper connection. The most telling scene is when the ice cream guy, fascinated by a man building a boat, yells down from a rooftop in French: “That’s incredible! How are you gonna get that out?” and gets “I don’t understand, but I have to get back to work!” as a response, in Spanish. The ice cream guy smiles and Ghost Dog nods, walks off.

This embracing of other people and foreign cultures is a cornerstone of this ‘subgenre,’ and I think there’s a lot to be gained in blending cultures, mixing philosophies and aesthetics to create modern mythology in film and music.

The RZA, who scored Ghost Dog, does appear in this film, credited as the “Samurai in Camoflague,” and though his scene is brief, it is perhaps the most appropriate role for him. Better at least, then the crackhead who gets killed in American Gangster. We’ll see truly how his acting skills (among other things) shake out on the 2nd of next month, but I have high hopes. He’s such a cool guy; it’d suck to see his movie fare poorly.

Oh, and the Italian gangsters in this movie are just crazy. If nothing else, watch this movie for them. They are not unlike the depiction of cosa nostra in It’s Always Sunny in Philadelphia.

So that should give you a general idea — these various titles the with direct involvement of the RZA, or that follow his approach to genre, are the Wu-Tang aesthetic and philosophy manifest in film and TV. The ultimate piece will be The Man with the Iron Fists, and if Ghost Dog and Kill Bill were the RZA’s film background, he’s in good shape.

Well shit — you see that picture with the eyeball!

Advertisements

 

Tarantino is famous for cool dialogue and infamous for his passion for cinema. His next movie, Django Unleashed, just seems so obvious that I face-palmed when I read the title – it might seem he’s been on an homage kick as of late, and this just falls in line, but no, appreciating the history of film has been a constant in the filmmaker’s career. Those two elements, dialogue and cinemaphilia, are what make the writer/director great in my eyes, and often intermix, whether it’s Samuel L. Jackson talking about John Woo movies or the girls in Death Proof arguing over Vanishing Point/Pretty in Pink, it’s all great stuff, and it seems to come so naturally to the guy.

Part of what makes his dialogue so good is not what typically makes writing great. Tarantino dropped out of high school halfway through, so I imagine his literary background is relatively small in comparison with other writers of his kind. He also said “hell no” to film school, but I don’t know what they teach in film school. So his diction and syntax and all that conventional mechanical stuff isn’t what makes Tarantino’s writing, what makes his writing is his talent to create cool characters. Jules in Pulp Fiction, The Bride in Kill Bill, Jackie Brown, Aldo Raine in Inglourious Basterds, and of course Zoe Bell as Zoe Bell in Death Proof all have mythological depth in terms of cinematic and genre language.

That, and they’re just really cool characters, and once Tarantino takes the massive effort to construct a very cool character, it becomes easy for him to make them say things that are equally cool, which is the part that translates directly to the screen – and it seems effortless. For the audience, these guys are just fun to watch.

However.

As of late, Tarantino has caught a lot of flack I feel, and I’m beginning to notice that each successive film he makes gets worse and worse paced. Reservoir Dogs ran at a fairly brisk pace, but Inglourious Basterds and Death Proof were bizarre with their unbalanced chapters. I feel like as Tarantino delves deeper and deeper into genre revisionism, he alienates certain audiences (not so many ‘got’ Death Proof, but Inglourious had general appeal for the most part) and it doesn’t help that the movies drag, and some of the dialogue bits are just too much.

So I’ll start this with what some consider to be his greatest movie, Pulp Fiction, and work my way up to Inglourious Basterds, which I just watched back-to-back with… Ponyo?

I liked Ponyo.

As a not so avid viewer of the films of Hayao Miyazaki, I haven't quite been desensitized to his message, so I ended up enjoying this quite a bit

Archives

Death Threats

dreckfiction@gmail.com

Topics of Discuss

Follow?

Error: Twitter did not respond. Please wait a few minutes and refresh this page.