A Scene

“Violence is one of the most fun things to watch.”

Quentin Tarantino


It was Autumn 2003 when I was reading a teenager magazine. There was a column written by a fashion blogger. It was attachedGogo.jpg with a picture of a Japanese student wearing her uniform,  and “Gogo Yubari, Kill Bill” was in the caption.

I was so amazed, the girl was holding a large meteor hammer connected with a chain. I decided to watch this movie right away. Unfortunately, later I learnt that “Kill Bill” was banned in Vietnamese cinemas because of its violence. I had waited for several months and finally I got a DVD from a local shop. I was thirteen then, a little bit sneaky. Otherwise, I would not be allowed to watch this bloody violent movie if my parents found out.

Honestly, Kill Bill was far more than I expected. It was crazy! I mean everything, the story plot, the Japanese animated scene, the black&white colour changing, everything. I jumped from intense to excited. The Bride has made so much effort to do her revenge. Every villain has their own characteristics.  The Samurai fighting scene is beautiful. Quentin Tarantino, the writer and director of Kill Bill, has made a really brilliant masterpiece.

One of the most impressive scene, I have to say, is when Ella Driver, as known as California Mountain Snake, tries to assassinate the Bride with poison when she is in coma. 

It begins with a blonde long hair lady wearing a white coat and she is holding her red umbrella. Ella Driver whistles the melody of the song named Twisted Nerve by Bernard Herrmann when she is walking from outside into the hospital down the hall. Ella turns into the room on her left while the camera keeps following its track to the room on the right side, where we can see the Bride is lying on her bed.


The screen starts to split. 

Left Side

Right Side

CU The Bride in her coma. EX CU of Ella taking her gloves off.

INSERT: of her leg stepping into a sheer, white stocking.

INSERT: of her buttoning upward on a white nurse’s uniform.

CU The Bride’s finger in pulse oximeter. CU of Ella’s sheer stocking feet stepping into white nurse’s shoes.

INSERT: of a syringe needle stuck in a vial. The red liquid is drawn up into the syringe.

INSERT: of Ella doing a test with the syringe.

INSERT: the syringe is placed on a nurse’s tray.

EX CU The Bride’s closing left eye. CU of Ella placing a white nurse’s cap on top of her head.
CU The Bride’s face. A medium tracking shot of the door is opened, Ella in a white nurse’s uniform, with a matching white eye patch over her right eye, carries the nurse’s tray with the red-liquid syringe on it, stepping out.

She walks down the corridor towards the sleeping Bride’s room.

The split screens are merged when Ella looks at the Bride through the window.

The scene then followed by an MC of Ella holding the tray, with subtile:

ELLA DRIVER 

member

DEADLY VIPER ASSASSINATION SQUAD

codename: 

CALIFORNIA MOUNTAIN SNAKE


The Bride is about to be injected with that deadly poison then such relieved, Ella has a phone call by Bill.

The whole shot construction makes the story more intense. It is incredibly creepy but artistic. Especially, the split screen has created a significant effect. One side is the silence of the sleeping Bride, the other side is a sequence of Ella’s transformation into a freaking nurse. One side is unawareness, the other side is intentional homicide.

However, the ‘coma scene’ would be nothing without Ella’s whistle, or I say, the melody of Twist Nerve. Both cheerful and haunting, this bouncing whistle tune quickly turns into a tormenting barrage of dread. It is said to be one of the most greatest moment of Kill Bill Vol.1, a hesitant but terrified melody is played along with the most suspense scene.

There are a lot of remake versions on the Internet. People try to set up the scene, actress attempts to act “cool”. But no remake version can defeat its original. A citation to praise Quentin Tarantino for his shooting script, his direction and his post-production team including editors and sound designers.


Kill Bill and Quentin Tarantino’s other movies may not be enjoyed by everybody. His work is characterised by nonlinear and storylines, forward and backward; disorder segments;  a synthesis of violence and gore, multi-culture and of course, not normal. However, with some one is willing to experience new sensation, let your mind free and enjoy his uncommon craziness.

It might be a surprise.

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