Through costumes, 'Kill Bill' reveals its story of rebirth

Through costumes, 'Kill Bill' reveals its story of rebirth ...

Kill Bill Vol. 1, a film starring an as-yet unnamed bride, cowering on the ground and punching with a rifle, and slapping his teeth on the back of his face, while also posing a punch on the inside. While a wedding is often considered the beginning of a new life, this scene offers an alternative: a brides wedding, by the way, is nothing less than a beginning, but a final. With only this first shot, Kill Bill

So The Bride (Uma Thurman) dies, and this is what her assailant believes. But the goriest metaphor of marriage at its worst is also contrasted: a man standing over the bride putting a bullet in her skull. While marriage has been considered as a "end-all be-all for many women," in The Brides instance, it is also a means of happiness, and a privilege of living. From here, we see a noticeable juxtaposition in The Bride''

The Bride has arrived at Vernita Green''s suburban house, claiming that she was infected with the deadly viper assassuring children to come to her someday thanks to her grace, compassion, and forgiveness. Although this is the first time the couple has seen The Bride since the slaughter in El Paso, she is brave and merciful. She is resurrecting the warriors she has shown, expressing her desire to match the legendary Western heroes.

The Bride''s hysteria in Kill Bill Vol. 2, populated with neon-lit clubs and trailers, is more feminine, with snakeskin cowboy boots and straight-legged jeans. Here, the bride also gives us more androgynous, borderline masculine clothing choices: snakeskin cowboy boots, and traditional western style buttons-ups in shades of sand. The scorned assassin steps out of her coffin with the help of any Leone leading man,

By choosing outfits that are, if not referential to, the lone-wolf-warrior of the Western canon, a sort of armored cocoon is constructed around our heroine. She was at her most vulnerable and unsuspecting as The Bride, wearing virginal white, delicate jewelry punctuating her ethereal dress. Also, the bride, for whatever length, uses her clothes to show us and herself that she has the capability to kill him.

The Bride''s distinctive Kill Bill style is complemented with a vibrant personality, while the men''s suit is incredibly feminine, allowing her to combat her first target. For her trip to Japan, this look has a strain of Eastern masculinity, hampered by a contemporary approach.

When We see The Bride slice O-Rens head off, it first becomes depicted as a splash of scarlet red on the snow; the parallel of the bloody snow and the white gown sprinkled in red act as the first tip of the scales of retribution, as another woman falls. Though The Bride requires a fresh tough-guy structure every new place she takes, she appears in completely anonymous, unspecific clothes.

We look back to Elle Driver''s horrific assassination attempt shortly after her arrival, and we see her in a dazzling hospital gown. At the moment she notices her breathing and smiles, he promises to bring her to the table, revealing that she is wearing a broad, sophisticated kimono, once more lacking in individuality. In Vol. 2, we see her as a student of the famous Pai Mei (Gordon Liu), who once became the president.

These anonymity moments are equally significant to the arc of The Brides costumes, as they reflect non only a stripping of the persona at the hands of Bill (both before and after the assassination attempt), but also a manifest internal self-confidence. She makes herself, post-coma, an internal self-difficult sense of what a strong, dauntless warrior should look like, demonstrating a lack of self-confidence, and providing evidence that her emotional quest is incomplete.

Then comes the last big change in the Kill Bills costume adaptation. After battled in the desert and Tokyo snow, Beatrix Kiddo, who was finally named, is tracked down her true, singular target: Bill for this final battle, the culmination of her cruel attack. And at this crucial moment, Beatrix Kiddo wears a skirt.

The once-nameless bride has chosen her most feminine look of the film. It''s a long-wonderful, imperceptible, twirl-prone full-length skirt of soft baby blue.

Female renegades in the film are often required to fill one of two categories: ultra-masculine to demonstrate she is competent (as seen earlier in the Kill Bill films), or thoroughly sexed-up to avoid the audience''s fears of her being a real threat (think Cat Woman throughout her film history, or any supermodel-turned-assassin flick). Beatrixs alternative provides a truer conception of the intersection of woman and warrior: she is feminine, but retains the fer

The bride of a 30-something lives in the same room as her on the day of her dress rehearsal massacre. Bill cleans the slate she used to be male oppressors.

Without a drop in sight, the blood-spattered bride becomes her true self at the end. The lioness dressed in white, ruler of the jungle