"At that moment, I felt like I had gotten in over my head and wanted to escape, but I knew it would not work."ģ. The music does the work that lesser directors would rely on voiceover narration to accomplish. So part of what we should read into this music choice in Kill Bill, and part of what we can see if we are looking for it, is Thurman feeling like she needs to escape, and realizing that this is not possible. In White Lightning the music is used at first as part of an escape attempt that will fail. The RZA also has it transition into something much more goofy, though differently goofy.Ģ. In the first clip the mood music transitions into something much more goofy. But a couple of things stand out when you know the context.ġ. The incorporation of music from White Lightning in Kill Bill is probably nothing more than the RZA saw the movie, remembered that awesome music, then decided he wanted it in Kill Bill years later. (This claim really may be going to far, but I am leaving it in). But Freud is so good you feel like he discovered it, rather than invented it. There is no such thing as "The Unconscious." You cannot prove it is there with a scientific instrument. You believe it is the primary thing, even though, rationally, you know better. Hank Azaria's Moe impression seems dead on, but I cannot process it as anything other than an impression of a pre-existing Moe. It is mentally impossible for me to shake the feeling that the actors here are lip-synching, trying to trick me into thinking they have the voices of characters I know from the Simpsons. I get this especially when I see live action interview with the voice actors of the Simpsons. Once you hear the second thing, it seems like the second thing must have been the first thing even though you know better. This sort of like an effect Harold Bloom calls apophrades, the return of the dead: "the uncanny effect is that the new poem's achievement makes it seem to us, not as though the precursor were writing it, but as though the later poet himself had written the precursor's characteristic work." That is going too far maybe, but the idea is there. It is bizarre to hear the music in White Lightning, as it seems sampled from Kill Bill. Burt Reynolds was thanked in the closing credits because of that. The RZA used music from White Lightning in Kill Bill. Then there are things like this, where the connection is not arguable. Then there are the more specific shots where he seems to be more clearly invoking another film, like the opening of Citizen Kane. That may just be one of those things that a lot of movies do. Tarantino may not be taking that from a particular movie. First there are those genre cues, like the Tokyo of tiny buildings. Kill Bill links fall into three categories. He chases him but Reynolds tricks him into that lake. Eventually the sheriff figures out Reynolds is against him and catches up with him in the second scene I have here, which is near the end of the film. Turning rat goes against everything he believes in, but this is the only way he can get revenge. That does not work and so he agrees to go undercover and take down this corrupt sheriff who is bootlegging. So like Dukes of Hazard if Dukes of Hazard was trying to be a drama.īurt Reynolds is in jail at the start of the movie and, when he learns his brother is dead, he attempts a break out in the first clip I have shown. But in this movie, the sheriff drowns in that lake, proper revenge for drowning Burt Reynolds brother in the swap in the opening credits. White Lightning has a very Dukes of Hazard feel - Burt Reynolds is a southern troublemaker who is really good at racing cars around small towns, and there is an overweight sheriff (played by Ned Beaty) who chases him around and whom he eventually tricks into driving his car into a lake. White Lightning is a Burt Reynolds movie, where he plays "Gator" McKlusky, a character I knew only from the end of the eighth episode of Archer where he insists that he looks just like him. He alludes, as Milton does in Paradise Lost, to re-think, to interpret, and ultimately to conquer. My theory is that Tarantino does more than swipe. I continue to blog about Kill Bill's relationship to the films that influenced it.
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