Critical Analysis of Kill Bill II

Sarah Staples
Critical Analysis
Kill Bill II
In scene 9, of Kill Bill II it is obvious that Tarantino utilizes the feminist and postmodern approach that lacks in many films. The feminist aspects in this scene include the idea that a female can be an assassin rather the nurturing and caring female. This idea is juxtaposed with the idea that the main character (Uma Thurman) is a mother who believes that she has lost her child due to Bill. In this scene, she continues her course of revenge, where there is no mercy. Western society often portrays women as incapable of this kind of violence. It is often believed that "females are more caring than males or that they differ in moral reasoning" (Beach 41). Uma Thurman is able to: use martial arts, samurai swords, throw chew in the face of her opponent, stick the head of her opponent down the toilet, and even pull out her opponent’s eye. Obviously these are not "typical" behaviors of women portrayed in films. Often women are supposed to be the ones who saved from violence, not the ones who are acting out violence. The film is also postmodern, because it doesn’t follow the "typical" narrative structure and it juxtaposes our idea of the "innocent" female with the dark underworld of murder and revenge.
Within this scene, Tarantino plays with the narrative structure by using flashbacks to convey meaning and to move the narrative forward. This technique was used in the standoff between Beatrix Kiddo (Uma Thurman) and Elle (Darryl Hannah). During the standoff Beatrix Kiddo says, just between us girls, why did Pai Mai snatch out your eye?" In the flashback the audience understands that Pai Mai was a rough teacher, but also that he was a wise man. He was portrayed as a "master" who nobody could beat in battle. In retribution for her agony during training Elle had poisoned his fish eggs. By using this postmodern approach, the audience recognizes whose side they are supposed to be on in this battle. For it seems that Uma is not only seeking revenge for herself but is also avenging her "master." The film is also postmodern because it challenges the idea that women cannot be warriors. Throughout the film, Uma is portrayed as the "greatest warrior," which is typically not a blonde, beautiful and violent female. This film challenges our idea of what it means to be female, and it is postmodern because it doesn’t obey "typical" cultural conventions/norms that are often seen in films.