Years after Quentin Tarantino’s original concept kill bill Uma Thurman on set pulp Fiction, he finally turned his martial arts revenge story into a two-part epic and started filming. He originally planned to release the film as a single production, but producers rejected the idea of a four-hour film in theaters, so it was split in half.
Judging from the title Volume 1 Set to Nancy Sinatra’s end credits Volume 2 Set against the backdrop of Chingon, both parts of the film feature plenty of Tarantino’s signature haunting musical moments. kill bill legend.
Volume 1: Ironside by Quincy Jones
In one of the opening scenes of “Vinita Green,” when Verneta Green opens her front door in the suburbs, kill bill And be amazed to find the bride on the other side, Quincy Jones’ iconic character ironside Themes pop up in the soundtrack.
The “Ironside” theme was later reused Volume 2 When the bride finds Elle outside Bud’s trailer. Well it also fits perfectly.
Volume 2: “To Your Heart’s Content” by Johnny Cash
Johnny Cash’s “To Your Heart’s Content” is playing in Bud’s trailer, and then the bride shows up and tries to ambush him. Through several stunning crash zooms, the bride’s ambush is cut short by a shotgun shot in the chest.
Tarantino is apparently a big fan of Johnny Cash, as he also played the role in Tennessee Stallion. jackie brown and “Ain’t No Grave” django unchained.
Volume One: Twisted Nerves by Bernard Hermann
The catchy tune of Bernard Herrmann’s “Twisted Nerve” was played by Elle Driver on her way to the hospital to assassinate the bride. Disguised as a nurse, she wears a Red Cross blindfold, eager to kill her closest rivals. But at the last minute, Bill called off the attack.
Uma Thurman and Daryl Hannah reportedly clashed on set kill bill. The feud got so bad that they refused to do any promotion for the film together. But that’s good for the movie, because it means the rivalry between the bride and Ally is real.
Volume II: L’Arena by Ennio Morricone
After Bard thwarted the bride’s attempt to ambush him, Kill Bill: Volume Two Things take a dark, unexpected turn when she is buried alive. Then, there’s a montage showing her being trained by Pyme, who teaches her the tools she needs to escape from the makeshift grave.
Ennio Morricone’s L’Arena originally appeared on film mercenaryduring which the bride breaks through the coffin lid and digs herself out of the grave.
Volume 1: Bang Bang (My Baby Shot Me) by Nancy Sinatra
when Quentin Tarantino first came up with the idea kill bill For Uma Thurman, all he sees is the opening shot: a woman lying on the ground, beaten and covered in blood, looking up at potential killers, silently swearing revenge on them. Thurman suggested backing off, revealing the bridal gown. Thus, the bride was born.
This opening shot ended up being realized in black and white. When the bride is suddenly shot in the head (in the middle of telling Bill the baby is his daughter), the movie cuts to black and starts playing the opening credits, perfectly setting off Nancy Sinatra’s brooding, melancholy sound. “Bang Bang (my baby shot me).”
Tarantino wanted to focus on one of Sinatra’s lesser-known songs because she’s usually associated with “these boots are made for walking,” and the lyrics are literally the same as the bride’s “baby” The Knockout on her voice fits perfectly.
Volume Two: The Chase by Ellen Reeves, Phil Steele and Philip Brigham
at the beginning of chapter nine kill bill Legend has it that “The Chase” plays on the soundtrack as “Elle” drives off to kill the bride.The song originally came from a jam session on a low-budget movie soundtrack way of salina.
Philip Brigham composed the opening guitar riff, then Alan Reeves added some rock organ sounds to the mix. kill bill Recording resumed.
Volume 1: “Woo Hoo” from 5.6.7.8
5.6.7.8 played its part Kill Bill: Volume One. The Bride can be seen performing live at the House of Blueleaf before their iconic battle with O-Ren and Crazy 88.
This is one of the rare times in a Tarantino film that a cameo plays himself. Zoë Bell appears prominently as her fictionalized self in the second half of the film. death certificate.
Volume 2: The Silhouettes of Doom by Ennio Morricone
one of many repertoire by morricone kill bill — One of the more closely associated with Tarantino films now than it was with its original film is Silhouette of Doom.
it is used well in titles Volume 2but it’s used even more effectively in the climactic battle between the Bride and Elle Driver.
Volume 1: “Battle Without Honor and Humanity” by Chikang Budai
It can be said to be the most memorable song in the whole show kill bill The soundtrack, “Battle Without Honor or Humanity,” plays as O-Ren Ishii, Sofie, Gogo, and Crazy 88 walk down the hallway into the Blue Leaf House in slow motion.
This track was originally recorded for the film A new battle without honor and humanitybut it wasn’t introduced to Western audiences until three years later, when Tarantino introduced kill bill.
Volume 2: Chingon’s Malaguena Salerosa
Chingon’s “Malaguena Salerosa” played at the end credits Kill Bill: Volume Two Tarantino edited montages of each of the actors in both volumes. The upbeat tone and catchy melody matched the bride and BB’s well-deserved happy ending.
The cast montage ends with a sweet description of our hero: “Uma Thurman as Beatrix Kido, aka Bride, aka Black Mamba, aka Mom.”