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Dragging on the theme of revenge, Tarantino's Kill Bill Vol. 2 further intensifies the substance of east meets west by repeatedly bringing into mise-en-scene Chinese martial art (Kung Fu), Japanese and Chinese swordsmanship, Pai Mei (Gordon Liu) and Chinese martial training in Mainland China. Most spectacularly, Bill (David Carandine) is not killed by the Japanese sword (which the viewer is led to anticipate in Vol. 1) but by a technique of Chinese martial art.

In addition to the voice over of Beatrix Kiddo (Uma Thurman) already adopted in Vol. 1, Tarantino adds a short black-and-white voice over sequence of Kiddo in a rhetorical mode (with Kiddo looking at and having monologue with the viewer) at the beginning. Like Vol. 1, cross-editing and flashbacks are frequently used to bring the viewer forth and back in the temporal and spatial dimensions. Although the pace is slower and the visuals are less violent in this Vol. 2 (Category II B in Hong Kong), the musical motif of the theme music in the US TV series, Ironside, in the 70's and the visual motif of swords (Japanese and Chinese) in Vol. 1 remain throughout.

Perhaps as a commercial device to gratify the viewers of Hong Kong, the language Pai Mei speaks in the film is Cantonese (instead of Mandarin). Other than the filmic elements of split screen, black and white scenes, tight close-ups of protagonists and intensified use of music present in Vol. 1, a prolonged blackout (with a short silence) in the plot of Kiddo's being buried is adopted in Vol. 2. In terms of diegesis, the relation between Kiddo and Bill (David Carandine) is completely revealed in Vol. 2. The story has potential in being developed into a series. Those who like unconventional editing and contraptions in filmic elements must like both volumes.

註：本評論純屬影評作者個人意見，並不代表本網立場。
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