list http://www.spout.com/ Recent community activity around Kill Bill Vol. 1 on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Kill_Bill_Vol_1/221595/default.aspx Title: Kill Bill Vol. 1
Year: 2003
Director: Quentin Tarantino
Plot: Perhaps the most highly anticipated film of 2003, Kill Bill Vol. 1 marked the return of renowned filmmaker Quentin Tarantino after a six-year hiatus. Re-teaming the director with Uma Thurman for the first time since 1994's Pulp Fiction, the film was originally the first half of what was to be a three-hour-plus movie before being split into two films. Thurman stars as The Bride, one-fifth of a team of assassins called DiVAS. When The Bride opts to leave the outfit for a life of marital bliss, it doesn't sit well with her boss, Bill (David Carradine), so he has her former cohorts, played by Lucy Liu, Vivica A. Fox, Daryl Hannah, and Michael Madsen, show up at the nuptials, leaving behind a blood bath. Miraculously, The Bride survives a bullet to the head and, four years later, she sets out for revenge against her four assassins and their employer. The story is concluded in Kill Bill Vol. 2, released six months later. ~ Matthew Tobey, All Movie Guide
Times Tagged: 133
Number of Lists: 167
Number of blog posts: 12
Number of discussion threads: 29
SpoutRating: 4
]]>Tue, 18 Aug 2009 17:51:41 GMTKill Bill Vol. 12003Quentin TarantinoPerhaps the most highly anticipated film of 2003, Kill Bill Vol. 1 marked the return of renowned filmmaker <a href="/players/P___113658/default.aspx" style='text-decoration:underline'>Quentin Tarantino</a> after a six-year hiatus. Re-teaming the director with <a href="/players/P____70905/default.aspx" style='text-decoration:underline'>Uma Thurman</a> for the first time since 1994's <a href=/films/89494/default.aspx style='text-decoration:underline'>Pulp Fiction</a>, the film was originally the first half of what was to be a three-hour-plus movie before being split into two films. Thurman stars as The Bride, one-fifth of a team of assassins called DiVAS. When The Bride opts to leave the outfit for a life of marital bliss, it doesn't sit well with her boss, Bill (<a href="/players/P____84255/default.aspx" style='text-decoration:underline'>David Carradine</a>), so he has her former cohorts, played by <a href="/players/P___267831/default.aspx" style='text-decoration:underline'>Lucy Liu</a>, Vivica A. Fox, <a href="/players/P____93354/default.aspx" style='text-decoration:underline'>Daryl Hannah</a>, and <a href="/players/P____44538/default.aspx" style='text-decoration:underline'>Michael Madsen</a>, show up at the nuptials, leaving behind a blood bath. Miraculously, The Bride survives a bullet to the head and, four years later, she sets out for revenge against her four assassins and their employer. The story is concluded in Kill Bill Vol. 2, released six months later. ~ Matthew Tobey, All Movie Guide133Tag Target (>10)16712294http://www.spout.com/ProductImages/t71777nroge.jpghttp://www.spout.com/films/Kill_Bill_Vol_1/221595/default.aspxFilm http://www.spout.com/blogs/movies_i_do_not_want_to_see-70/archive/2006/3/22/563.aspx Post By: Risselada
Post To: Movies I do not want to see
Post Date: 8/18/2009 1:51:41 PM
Body: It seems like a lot of these movies some of you just don't want to see due to violence or other dark or deprived behavior. If that is the case, I won't argue. But if you think that it's possible for depravity in a movie to lead to transcendence, there is some great stuff here. Twelve Monkeys is just amazing. I really don't remember that much violence in it. Maybe in the WWII scene?? But the MPAA rated it R for violence and laguage, so I guess there's something there. I don't think it would turn you off though. If you are interested at all in time travel movies, this is one of the best!!! A Clockwork Orange is also amazing!! But if you are that worried about disturbing or violent imagery, then I can't really recommend this. The film was originally rated X when it first came out and that rating existed. The whole premise of the film is about trying to reform a man who is obsessed with commiting what he calls "ultraviolence". That includes all kinds of violence, murder, rape, and other devient sex acts all without remorse. The methods used to attempt to reform him however lead to many very interesting and relevent questions about society and the human condition. I even consider it a very Christian film in respects to what it says about free will. But again, you will see weirdos with creepy masks muder a woman with a gigantic penis statue. It even makes Beethoven music seem completely alien and menacing! I'm kind of shocked that people are recommending Kill Bill to someone who is adverse to too much violence in movies! While some of the violence here is quite stylized, it is most definitely extreme violence and depravity. And I find any "lessons" in the film to be rather banal. It's quite a ride and a movie I like to watch, but it's my least favorite Tarantino film.
]]>Tue, 18 Aug 2009 17:51:41 GMTRisseladaMovies I do not want to see8/18/2009 1:51:41 PMIt seems like a lot of these movies some of you just don't want to see due to violence or other dark or deprived behavior. If that is the case, I won't argue. But if you think that it's possible for depravity in a movie to lead to transcendence, there is some great stuff here. Twelve Monkeys is just amazing. I really don't remember that much violence in it. Maybe in the WWII scene?? But the MPAA rated it R for violence and laguage, so I guess there's something there. I don't think it would turn you off though. If you are interested at all in time travel movies, this is one of the best!!! A Clockwork Orange is also amazing!! But if you are that worried about disturbing or violent imagery, then I can't really recommend this. The film was originally rated X when it first came out and that rating existed. The whole premise of the film is about trying to reform a man who is obsessed with commiting what he calls "ultraviolence". That includes all kinds of violence, murder, rape, and other devient sex acts all without remorse. The methods used to attempt to reform him however lead to many very interesting and relevent questions about society and the human condition. I even consider it a very Christian film in respects to what it says about free will. But again, you will see weirdos with creepy masks muder a woman with a gigantic penis statue. It even makes Beethoven music seem completely alien and menacing! I'm kind of shocked that people are recommending Kill Bill to someone who is adverse to too much violence in movies! While some of the violence here is quite stylized, it is most definitely extreme violence and depravity. And I find any "lessons" in the film to be rather banal. It's quite a ride and a movie I like to watch, but it's my least favorite Tarantino film. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_March_3_Motorin/625/40835/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 3/5/2009 1:23:24 AM
Body: I'm a fan of those cheesy monstrosities that cause a double take due to their insane look. The least offensive of the bunch is the bright yellow VW Bus in Little Miss Sunshine which was a character in itself in the film. The Mutt Cutts mobile in Dumb and Dumber was just pure insanity. The Pussy Wagon in Kill Bill. 'Nuff said. The Mirth Mobile in Wayne's World. Comes standard with flames and Twizzler dispenser. The ECTO-1 in Ghostbusters.
]]>Thu, 05 Mar 2009 06:23:24 GMTmercurialWeekly Theme3/5/2009 1:23:24 AMI'm a fan of those cheesy monstrosities that cause a double take due to their insane look. The least offensive of the bunch is the bright yellow VW Bus in Little Miss Sunshine which was a character in itself in the film. The Mutt Cutts mobile in Dumb and Dumber was just pure insanity. The Pussy Wagon in Kill Bill. 'Nuff said. The Mirth Mobile in Wayne's World. Comes standard with flames and Twizzler dispenser. The ECTO-1 in Ghostbusters. http://www.spout.com/groups/Top_5/Re_Top_5_Ass_Kicking_Heroine_Films/190/39396/1/ShowPost.aspx Post By: seely
Post To: Top 5
Post Date: 1/12/2009 11:38:25 AM
Body: Crouching Tiger is one I always go back and forth on--she is strong, skilled and deadly, but at the same time weak and sexually vulnerable. Almost a paradox. I can't decide if I consider her an ass kicking heroine or not...? [quote user="mercurial"] Crouching Tiger, Hidden Dragon For me, I either loved or hated these films. Kill Bill and Alien are probably my favorite female action protagonists. [/quote]
]]>Mon, 12 Jan 2009 16:38:25 GMTseelyTop 51/12/2009 11:38:25 AMCrouching Tiger is one I always go back and forth on--she is strong, skilled and deadly, but at the same time weak and sexually vulnerable. Almost a paradox. I can't decide if I consider her an ass kicking heroine or not...? [quote user="mercurial"] Crouching Tiger, Hidden Dragon For me, I either loved or hated these films. Kill Bill and Alien are probably my favorite female action protagonists. [/quote] http://www.spout.com/groups/Top_5/Re_Top_5_Ass_Kicking_Heroine_Films/190/39333/1/ShowPost.aspx Post By: mercurial
Post To: Top 5
Post Date: 1/9/2009 5:19:28 PM
Body: Let's see: Resident Evil BloodRayne Buffy the Vampire Slayer Aeon Flux Charlie's Angels Messenger: The Story of Joan of Arc Elektra Freeway Coffy Foxy Brown La Femme Nikita / Point of No Return The Long Kiss Goodnight The Quick and the Dead My Super Ex-Girlfriend Cutthroat Island Red Sonja Supergirl Ultraviolet Catwoman Barb Wire Silver Hawk Crouching Tiger, Hidden Dragon Lady Vengeance For me, I either loved or hated these films. Kill Bill and Alien are probably my favorite female action protagonists.
]]>Fri, 09 Jan 2009 22:19:28 GMTmercurialTop 51/9/2009 5:19:28 PMLet's see: Resident Evil BloodRayne Buffy the Vampire Slayer Aeon Flux Charlie's Angels Messenger: The Story of Joan of Arc Elektra Freeway Coffy Foxy Brown La Femme Nikita / Point of No Return The Long Kiss Goodnight The Quick and the Dead My Super Ex-Girlfriend Cutthroat Island Red Sonja Supergirl Ultraviolet Catwoman Barb Wire Silver Hawk Crouching Tiger, Hidden Dragon Lady Vengeance For me, I either loved or hated these films. Kill Bill and Alien are probably my favorite female action protagonists. http://www.spout.com/groups/Top_5/Top_5_Ass_Kicking_Heroine_Films/190/39311/1/ShowPost.aspx Post By: seely
Post To: Top 5
Post Date: 1/9/2009 12:34:14 PM
Body: I re-watched Kill Bill the other day (its almost weekly for me, sadly) and realized that I don't know of a ton of other ass-kicking heroines on celluloid out there. Honestly, that may be the only one I know of besides perhaps Lara Croft, who started life on a game cartridge. So--help me out and give me your Top 5 heroine films!
]]>Fri, 09 Jan 2009 17:34:14 GMTseelyTop 51/9/2009 12:34:14 PMI re-watched Kill Bill the other day (its almost weekly for me, sadly) and realized that I don't know of a ton of other ass-kicking heroines on celluloid out there. Honestly, that may be the only one I know of besides perhaps Lara Croft, who started life on a game cartridge. So--help me out and give me your Top 5 heroine films! http://www.spout.com/blogs/spoutblog/archive/2008/12/23/38772.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/23/2008 4:00:40 PM
Body: Christmas is a time of peace and harmony, where we remember baby Jesus, born into a manger. There were shepherds, wise men, sweet hay and swaddling clothes. But we often forget how dark the Christmas story actually is. First of all you’ve got poor Joseph, convinced that his fiance has been knocked up by another man. Then she gives birth in a barn, which would not be sweet or pleasant in any way. If that weren’t bad enough, the wise men tip Herod off to the fact that a new king has been born, and he goes and kills all the first born sons in Judea, forcing the Holy Family into exile. Real smooth, wise men, did you miss the star that told you to keep your mouths shut? There are plenty of movies about Christmas, a few about the nativity and plenty more about Santa. But there aren’t any that capture the despair and desperation of the original tale. Placed within the larger narrative of the Christian gospel, the nativity is about a god being subjected to the vulnerability of an infancy, in order to enter a cruel world whose purpose it is to kill him. Sure, it all works out in the end, but it’s still a pretty dark story. This lack of grit in Christmas movies became clear to me two years ago. Around Christmas, 2006, both The Nativity Story and Children of Men were released. I saw them both within a few days of one another. I was struck by how boring The Nativity Story was, especially compared to Cuarón’s post-apocalyptic masterpiece. When I think of a baby bringing peace on Earth, I can think of no better image than Clive Owen stumbling out of a shattered building with a screaming infant, its cries literally silencing tanks. In that spirit, here are five gritty movies where everything rides on the tiny shoulders of a baby. Children of Men The sweet little child in this movie is the inspiration not only for this list, but for all of humanity (at least in the film). Cuarón creates a brutal world of the near future where women no longer get pregnant, and society crumbles. One reason I like thinking about this movie as an alternate nativity is that it illustrates what Jesus’ second foray into humanity could look like. According to the Bible, the baby in the manger was only part one, Christ is coming back. While I don’t think that Cuarón meant the child to be seen as the second coming, a miraculous birth giving hope to a world in the midst of the apocalypse serves as a nice illustration of God’s ultimate Christmas gift to humanity. Tsotsi This 2005 South African film won the Academy Award for Best Foreign Language Film. It tells the story of young Tsotsi and his gang of Johannesburg thugs. A car-jacking goes bad, and Tsotsi kills a woman. He then discovers her baby in the back seat of the car. As movies like Three Men and a Baby and Raising Arizona make clear, there’s nothing like a baby to inspire self-improvement. Confronted with the shame and guilt of his violent lifestyle, Tsotsi goes on a mission to make things right. Maybe this relates to why the image of baby Jesus is so popular, even though it’s such a small part of the Bible. No one wants to do wrong if they think they’ll hurt a baby. Pan’s Labyrinth This movie is full of pseudo-nativities (spoilers ahead). Young Ofelia and her pregnant mother go to live in the mountains with Ofelia’s new stepfather, a cruel fascist general in Franco’s Spain. While the baby’s birth is a turning point in the climax of the film, the more fitting parallel to the Christ child is actually Ofelia. The opening scene tells the story of Princess Moanna of the Underground Realm, a supernatural being who takes human form. Throughout the film, Ofelia has encounters with fantastic creatures and locations, including a faun. The faun gives her various missions, the last of which is to shed innocent blood of her baby brother in order to open the portal to the Underworld, so Ofelia (Princess Moanna) can go home. She refuses to let her brother be harmed, and is shot by her stepfather shortly after. The baby is saved, but as Ofelia dies, her innocent blood opens the portal and she rejoins her father, the king, in the supernatural Underworld. Granted, it’s not a Sunday school lesson, but it’s pretty close, right down to Ofelia’s (Christ’s) blood being the link to the heavenly father. If you want to go even further, you could start looking for parallel’s between Franco’s Spain and the Roman occupation of the Holy Land during the first century, but for our purpose here we’ll leave at the innocent blood thing. Kill Bill While not nearly the gospel-like parable of Pan’s Labyrinth, Quentin Taratino’s revenge epic does use a child as the central motivating force. A pregnant Beatrix Kiddo is shot and left for dead by Bill, the baby’s father. Four years later the wakes from her coma, assumes her baby is dead, and seeks revenge against her former team of assassins. Kill Bill isn’t about the redemptive effect of an innocent baby as much as it’s about motherhood, and what a mother will do to protect that innocence. Beatrix’s similarities to the Virgin Mary probably end there, but it’s still worth noting the central role that the maternal instinct plays in the film. Kill Bill is gratuitous in every way: it’s violent, it samples from an absurd amount of source material, and the total run time of the two volumes is over four hours. The plot is pretty spare, but Tarantino never has trouble sustaining a sense of urgency. In Kill Bill, as in the nativity, looking out for the welfare of a child is a motivation that never needs to be explained. Rosemary’s Baby Rosemary’s Baby isn’t an alternate nativity as much as it’s an anti-nativity. A young couple, Rosemary and Guy, move into a spooky old apartment building. Their meddlesome old neighbors, Minnie and Roman, seem harmless at first. After eating a few bites of Minnie’s chocolate mousse, Rosemary faints and has a dream where she is raped by a demonic presence.  Minnie and Roman suggest an obstetrician who tells Rosemary her pains and cravings of raw meat are totally normal. Clearly something sinister is afoot, but will Rosemary forsake her own child, or join the dark conspiracy? Blood is thicker than water, as they say. And while giving birth to God must have been burden for Mary, how much tougher would it be to give birth to the Devil? Originally posted on:SpoutBlog
]]>Tue, 23 Dec 2008 21:00:40 GMTSpoutBlogSpoutBlog on spout.com12/23/2008 4:00:40 PMChristmas is a time of peace and harmony, where we remember baby Jesus, born into a manger. There were shepherds, wise men, sweet hay and swaddling clothes. But we often forget how dark the Christmas story actually is. First of all you’ve got poor Joseph, convinced that his fiance has been knocked up by another man. Then she gives birth in a barn, which would not be sweet or pleasant in any way. If that weren’t bad enough, the wise men tip Herod off to the fact that a new king has been born, and he goes and kills all the first born sons in Judea, forcing the Holy Family into exile. Real smooth, wise men, did you miss the star that told you to keep your mouths shut? There are plenty of movies about Christmas, a few about the nativity and plenty more about Santa. But there aren’t any that capture the despair and desperation of the original tale. Placed within the larger narrative of the Christian gospel, the nativity is about a god being subjected to the vulnerability of an infancy, in order to enter a cruel world whose purpose it is to kill him. Sure, it all works out in the end, but it’s still a pretty dark story. This lack of grit in Christmas movies became clear to me two years ago. Around Christmas, 2006, both The Nativity Story and Children of Men were released. I saw them both within a few days of one another. I was struck by how boring The Nativity Story was, especially compared to Cuarón’s post-apocalyptic masterpiece. When I think of a baby bringing peace on Earth, I can think of no better image than Clive Owen stumbling out of a shattered building with a screaming infant, its cries literally silencing tanks. In that spirit, here are five gritty movies where everything rides on the tiny shoulders of a baby. Children of Men The sweet little child in this movie is the inspiration not only for this list, but for all of humanity (at least in the film). Cuarón creates a brutal world of the near future where women no longer get pregnant, and society crumbles. One reason I like thinking about this movie as an alternate nativity is that it illustrates what Jesus’ second foray into humanity could look like. According to the Bible, the baby in the manger was only part one, Christ is coming back. While I don’t think that Cuarón meant the child to be seen as the second coming, a miraculous birth giving hope to a world in the midst of the apocalypse serves as a nice illustration of God’s ultimate Christmas gift to humanity. Tsotsi This 2005 South African film won the Academy Award for Best Foreign Language Film. It tells the story of young Tsotsi and his gang of Johannesburg thugs. A car-jacking goes bad, and Tsotsi kills a woman. He then discovers her baby in the back seat of the car. As movies like Three Men and a Baby and Raising Arizona make clear, there’s nothing like a baby to inspire self-improvement. Confronted with the shame and guilt of his violent lifestyle, Tsotsi goes on a mission to make things right. Maybe this relates to why the image of baby Jesus is so popular, even though it’s such a small part of the Bible. No one wants to do wrong if they think they’ll hurt a baby. Pan’s Labyrinth This movie is full of pseudo-nativities (spoilers ahead). Young Ofelia and her pregnant mother go to live in the mountains with Ofelia’s new stepfather, a cruel fascist general in Franco’s Spain. While the baby’s birth is a turning point in the climax of the film, the more fitting parallel to the Christ child is actually Ofelia. The opening scene tells the story of Princess Moanna of the Underground Realm, a supernatural being who takes human form. Throughout the film, Ofelia has encounters with fantastic creatures and locations, including a faun. The faun gives her various missions, the last of which is to shed innocent blood of her baby brother in order to open the portal to the Underworld, so Ofelia (Princess Moanna) can go home. She refuses to let her brother be harmed, and is shot by her stepfather shortly after. The baby is saved, but as Ofelia dies, her innocent blood opens the portal and she rejoins her father, the king, in the supernatural Underworld. Granted, it’s not a Sunday school lesson, but it’s pretty close, right down to Ofelia’s (Christ’s) blood being the link to the heavenly father. If you want to go even further, you could start looking for parallel’s between Franco’s Spain and the Roman occupation of the Holy Land during the first century, but for our purpose here we’ll leave at the innocent blood thing. Kill Bill While not nearly the gospel-like parable of Pan’s Labyrinth, Quentin Taratino’s revenge epic does use a child as the central motivating force. A pregnant Beatrix Kiddo is shot and left for dead by Bill, the baby’s father. Four years later the wakes from her coma, assumes her baby is dead, and seeks revenge against her former team of assassins. Kill Bill isn’t about the redemptive effect of an innocent baby as much as it’s about motherhood, and what a mother will do to protect that innocence. Beatrix’s similarities to the Virgin Mary probably end there, but it’s still worth noting the central role that the maternal instinct plays in the film. Kill Bill is gratuitous in every way: it’s violent, it samples from an absurd amount of source material, and the total run time of the two volumes is over four hours. The plot is pretty spare, but Tarantino never has trouble sustaining a sense of urgency. In Kill Bill, as in the nativity, looking out for the welfare of a child is a motivation that never needs to be explained. Rosemary’s Baby Rosemary’s Baby isn’t an alternate nativity as much as it’s an anti-nativity. A young couple, Rosemary and Guy, move into a spooky old apartment building. Their meddlesome old neighbors, Minnie and Roman, seem harmless at first. After eating a few bites of Minnie’s chocolate mousse, Rosemary faints and has a dream where she is raped by a demonic presence.  Minnie and Roman suggest an obstetrician who tells Rosemary her pains and cravings of raw meat are totally normal. Clearly something sinister is afoot, but will Rosemary forsake her own child, or join the dark conspiracy? Blood is thicker than water, as they say. And while giving birth to God must have been burden for Mary, how much tougher would it be to give birth to the Devil? Originally posted on:SpoutBlog http://www.spout.com/groups/FilmCouch/Re_Question_from_FilmCouch_94_who_s_better_Kevi/302/37389/1/ShowPost.aspx Post By: dexx
Post To: FilmCouch
Post Date: 11/17/2008 11:32:49 PM
Body: Aside from "Mallrats", I have enjoyed every Kevin Smith effort, to this point, but really... this is an apples an oranges discussion. I find it hard to imagine a Smith film that is an equal to "Pulp Fiction". Smith hones his craft to a finer point (almost) every time out, but "Zack and Miri..." is no "Kill Bill". Love 'em both, but in vastly different ways.
]]>Tue, 18 Nov 2008 04:32:49 GMTdexxFilmCouch11/17/2008 11:32:49 PMAside from "Mallrats", I have enjoyed every Kevin Smith effort, to this point, but really... this is an apples an oranges discussion. I find it hard to imagine a Smith film that is an equal to "Pulp Fiction". Smith hones his craft to a finer point (almost) every time out, but "Zack and Miri..." is no "Kill Bill". Love 'em both, but in vastly different ways. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_October_20_The_Montage/625/36551/1/ShowPost.aspx Post By: seely
Post To: Weekly Theme
Post Date: 10/21/2008 2:38:42 PM
Body: One of the montages I found more enjoyable was probably the wine-country driving sequence in Sideways. I loved the sixties feel to the editing, and the sort of soma-groove background music. I really thought it enchanced the feel of the film and set a mood nicely without adding too much camp. Another film with a great montage (albeit a bit campy) would be Kill Bill-with the obligatory martial-arts training montage. Sure its expected and a bit cheesey, but I really think thats the whole point, given the 70's Kung-fu flick feel of the film at that point. Kill Bill actually has a few other montages, but I dont think any were as memorable or as enjoyable. Requiem for a Dream may be a bit of a stretch, but I would submit the scenes involving drug use qualify as montages. The quick edits with only background noise where you don't actually see the drug use but its more or less implied was pretty brilliant I thought.
]]>Tue, 21 Oct 2008 18:38:42 GMTseelyWeekly Theme10/21/2008 2:38:42 PMOne of the montages I found more enjoyable was probably the wine-country driving sequence in Sideways. I loved the sixties feel to the editing, and the sort of soma-groove background music. I really thought it enchanced the feel of the film and set a mood nicely without adding too much camp. Another film with a great montage (albeit a bit campy) would be Kill Bill-with the obligatory martial-arts training montage. Sure its expected and a bit cheesey, but I really think thats the whole point, given the 70's Kung-fu flick feel of the film at that point. Kill Bill actually has a few other montages, but I dont think any were as memorable or as enjoyable. Requiem for a Dream may be a bit of a stretch, but I would submit the scenes involving drug use qualify as montages. The quick edits with only background noise where you don't actually see the drug use but its more or less implied was pretty brilliant I thought. http://www.spout.com/groups/Heroines_in_Hollywood/Re_The_List/647/36444/1/ShowPost.aspx Post By: seely
Post To: Heroines in Hollywood
Post Date: 10/17/2008 11:57:14 AM
Body: The theme of men resisting the sexual awakening of woman brings to mind "Pleasantville". Who can forget "the bathtub scene"? I don't believe there has ever been a clearer image of sexual awakening in a film, before or since. The shift from black-and-white to colour was really clever and poigniant. Pleasantville was definitely an interesting look at the sexual repression of the times (1950's) and then the awakening towards the end of the decade with the beginning of the 1960's, in a third-wave feminist post Simone d'Beauvoir era. [quote user="filmgal81"] What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote] [/quote]
]]>Fri, 17 Oct 2008 15:57:14 GMTseelyHeroines in Hollywood10/17/2008 11:57:14 AMThe theme of men resisting the sexual awakening of woman brings to mind "Pleasantville". Who can forget "the bathtub scene"? I don't believe there has ever been a clearer image of sexual awakening in a film, before or since. The shift from black-and-white to colour was really clever and poigniant. Pleasantville was definitely an interesting look at the sexual repression of the times (1950's) and then the awakening towards the end of the decade with the beginning of the 1960's, in a third-wave feminist post Simone d'Beauvoir era. [quote user="filmgal81"] What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote] [/quote] http://www.spout.com/groups/Heroines_in_Hollywood/Re_The_List/647/36440/1/ShowPost.aspx Post By: filmgal81
Post To: Heroines in Hollywood
Post Date: 10/17/2008 11:02:25 AM
Body: The two films I'd like to discuss star Winona Ryder in two very different roles: The Age of Innocence and Bram Stoker's Dracula. The Age of Innocence deals with many themes of early 20th century life, but specifically of the suffocation of women at that time. May Welland ( Ryder) is supposed to be an innocent in comparison to her more brazen cousin Mme. Olenska (played by the ever beautiful Michelle Pfeiffer). What we learn, however, is that May knows more than she lets on about the nature of people and even surprises her husband Archer in the end by understanding the stifling he felt during their marriage. Despite her intellect, if she had let her husband in on her ideas might've saved their marriage, she felt tied to the conventions of the time-forced to mold herself ( and her husband) into a couple of that era, never breaking from convention. She so bought into this notion that she did not question convention at all or, as Archer said " there was no need trying to emancipate a wife who hadn't the dimmest notion she wasn't free." The new film The Duchess deals with similar themes of a woman's asphyxiation in a marriage. Winona in Dracula is almost like what men feared would happened to someone like May Welland if they did not keep them naive and out of touch with their sexuality. What if May decided to open up to Archer and actually have real relationship, beyond the politeness and formality? What if she feell down the rabbit hole and decided to meet his expectations? What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote]
]]>Fri, 17 Oct 2008 15:02:25 GMTfilmgal81Heroines in Hollywood10/17/2008 11:02:25 AMThe two films I'd like to discuss star Winona Ryder in two very different roles: The Age of Innocence and Bram Stoker's Dracula. The Age of Innocence deals with many themes of early 20th century life, but specifically of the suffocation of women at that time. May Welland ( Ryder) is supposed to be an innocent in comparison to her more brazen cousin Mme. Olenska (played by the ever beautiful Michelle Pfeiffer). What we learn, however, is that May knows more than she lets on about the nature of people and even surprises her husband Archer in the end by understanding the stifling he felt during their marriage. Despite her intellect, if she had let her husband in on her ideas might've saved their marriage, she felt tied to the conventions of the time-forced to mold herself ( and her husband) into a couple of that era, never breaking from convention. She so bought into this notion that she did not question convention at all or, as Archer said " there was no need trying to emancipate a wife who hadn't the dimmest notion she wasn't free." The new film The Duchess deals with similar themes of a woman's asphyxiation in a marriage. Winona in Dracula is almost like what men feared would happened to someone like May Welland if they did not keep them naive and out of touch with their sexuality. What if May decided to open up to Archer and actually have real relationship, beyond the politeness and formality? What if she feell down the rabbit hole and decided to meet his expectations? What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote] http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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