Kill Bill Vol.2 Analysis

Kill Bill Vol.2

Kill Bill Vol.2 is a 2004 film which follows a bride and her venture to complete the hit list she has written of all of the people who have done her wrong, including her ex-boyfriend and boss Bill, who tried to have her killed four years ago during her wedding. In the scene The Bride talks to Bill in a dream or flashback style of clip. The whole scene is in Black and White.

In the first shot, The Bride is walking through a church, initially with a happy facial expression, until she hears a non-diegetic sound of a flute playing. Her face then turns into a shocked or somber expression. The camera tracks backwards following her walking pace. It is a mid-close up as the audience can see half of her torso, whilst her still being the main focus of the shot. It uses the rule of thirds. This keeps the scene looking symmetrical and her facial expressions set a calm or happy mood.
In the second shot, the camera is static and captures the exit of the church. This puts the camera in the Bride's point of view. It is a long shot, as you can see the whole door frame. There is a high key and low key lighting contrast, suggesting that the outside is an uncomfortable heat, but the inside is unsafe. It also makes the sound diegetic, so the audience knows where the flute playing is coming from.
In the third shot, the bride turns to look over her shoulder and has a shocked facial expression. This is a reaction shot, and the camera stays static for half the shot, then continues tracking backwards at walking pace. This shot again allows us to feel as if we are walking with the character, and we can see she is the point of interest.
In shot 4, you see the back of the bride walk outside and look to the left. It is done in a long shot, but the shot seems quite tight. The camera is static. This is to show that it is the point of interest for the shot.
In shot 5, you see a man playing the flute with the bride not looking at him. It is a low angle two-shot and the sound is diegetic. As she turns to look at him, there is lots of space between them, telling us that she is cautious of this man. Also in all shots, she is on the right and he is on the left. This could mean a moral righteous.
In shot 6, it cuts to a close up of the bride, as she turns to look at the man. She is on the right side of the shot. She is looking down on him, so it means she is better.
In shot 7, there is a high-angle close up of the man, as he finishes playing his flute. This could mean he is in the wrong. A shot-reverse-shot is also used, and the music/editing speeds up in pace. This reminds me of the key scene from The Good, The Bad and The Ugly.
For shot 8, Bill turns to look at the bride, and begins speaking to her. It is a higher angle close up, and he is again, to the left side of the shot.
In shot 9, the bride looks over at him. There is lots of negative space behind her and the telephone posts look like religious crosses. The negative space represents that she has a bad past with Bill. The crosses behind her tell us that she is morally right.
In shot 10, the man is talking to her and walking towards her with a slow pace. There is a pole in the middle of the shot, creating a symmetrical shot. This is a high-angle mid-shot, which pans and tilts to the left. For shot 11, the bride starts talking to him. It again has a pole in the middle to create symmetry.
In shot 12, the bride is walking towards Bill. The shot tracks from right to left, and it is a low angle shot, where you can only see her feet. She is again on the left. Shot 13 is the same, but Bill is the subject behind the camera. The same sequence of shots is repeated.
In shot 15, their feet are together. The rule of thirds is used. The fact that it is their feet, means they don't actually want to be together.
For shot 16, their faces are shown very close together for a conversation. It is a close up two-shot. The shots are of longer duration, and the rule of thirds is used again. This means they are over the awkwardness and are more comfortable talking to each other.
In shot 17, a tight over-the-shoulder shot is used, as the camera focuses on Bill. She is again on the left and he is on the right. In this shot, they seem closer even though they don't move. The mood is now more comfortable.
And finally in shot 18, she looks up at him. This is a close up, and over-shoulder shot. She isn't scared anymore.

In my personal opinion, the scene is rather boring as nothing really happens in it. The scene, when taken out of context from the film, may be confusing to people who haven't seen the film, as it is a part of the narrative, but doesn't move the story line along at all.