キルビル Vol.2 4K+ブルーレイ+デジタル[4K UHD] [Blu-ray] [Import]

『キル・ビル Vol.2』(Kill Bill: Vol. 2) ('04) 出演∶ユマ・サーマン、デイヴィッド・キャラダイン、ダリル・ハンナ、マイケル・マドセン、リュー・チャーフィ(ゴードン·ラウ)、マイケル・パークス、サミュエル・L・ジャクソン、パーラ・ヘイニー=ジャーディン、ボー・スヴェンソン、ラリー・ビショップ、シド・ヘイグ 監督∶クエンティン・タランティーノ Vol.1が武芸を極めんとした者たちの[動]の部分を全面に押し出した殺し合いの一大アクション映画だったのと対象的に､Vol.2は一転､復讐者の内面(メンタル面)をクローズアップ。ヒロイン"ザ·ブライド"の武芸修行時代の回想シーンなど[静]の面も交えた落ち着いた展開になっている。前編から顕著だった"Ｂ級オタク度"は､より深くなっているかも……。 前作で数十人の敵を殺しまくり､大量の血しぶきを飛び散らせたのと比べると､何と大人しいことか。残る復讐相手３人は､前作で始末した２人より強そうだが､強さゆえか身辺ガードの手下がゼロで､すべてタイマン勝負である。出てくる"武器"や"殺人術"も､岩塩弾·毒蛇·生き埋め·自白薬·経絡秘孔突きなど､見た目は地味だが､凝った方法が増えてます。 [物語] ビル(キャラダイン)が率いる暗殺組織を抜けて自由の身になった"ザ·ブライド"(サーマン)が､新しい恋人との結婚式のリハーサル中に牧師夫妻や列席者らと共に襲撃を受けた大量殺戮事件から４年。ただ一人生き残ったブライドは､昏睡状態から目覚め､死んだ人々や失われた胎児の復讐を誓い､襲撃者であるビルと､腹心の配下である４人の殺し屋との死闘がスタートする。 ４人の手下のうち､二人の女殺し屋コパーヘッドとオーレン石井を血祭りに挙げたブライド(←ここまでVol.1)。残る二人と､ボスであり失われた胎児の父親であるビルへの復讐に着手する。まず､ビルの弟であり今は酒浸りで酒場の用心棒になっているバド(マドセン)。彼のトレーラーハウスを突き止めたブライド(本名:ベアトリクス·キドー)は待伏せをするが､それはバドに見抜かれていた｡ トレーラーハウスに踏み込んだキドーは､バドのショットガンが放った岩塩弾で失神。捕縛されたキドーは棺桶に入れられ､生きたまま墓地に埋葬される。キドーの持つ服部半蔵(千葉真一)作の名刀を入手したバドは､もう一人のビルの配下の殺し屋で日本刀好きのエル·ドライヴァー(ハンナ)にTELで連絡し､高値で売りつける。 生き埋めになったキドーは､かつて中国拳法の師匠パイ·メイ(リュー)の元で修行したワザで､土中より脱出を果たす。一方､名刀を受け取りにやって来たドライヴァーは､バドを殺して刀を奪おうとする。だが､その現場にキドーが殴り込んできて､ドライヴァーと死闘を繰り広げることに……!? ※この先はネタバレ的なことに触れます。 物語としては､このあと復讐の本命であるビルとの一騎討ちというクライマックスを迎えるわけだが､そこに"B.B."という意外な人物の登場で､復讐譚は予想外の方向へ展開するのですが……。前述の通り､ド派手で血しぶき描写満載だったVol.1と比べると､このVol.2は､かなり"おとなしい"ので､前作のようなものを期待していると肩透かしを喰らうでしょう。 前作が､任侠映画や忍者映画､『女囚さそり』『修羅雪姫』などの日本映画へのオマージュだとすれば､Vol.2は､主に香港カンフー映画やマカロニ·ウェスタンへのオマージュらしい。どこがどの作品の"イタダキ"か考えるだけで楽しい……考えすぎかもしれないが……(笑) 前作では明らかにされなかった主人公の本名(前作では誰かが名前を口にするたびに[ピーッ]が入ってました)が､「ベアトリクス·キドー」だとか。"キドー"って何だ!? "鬼道"という言葉は､日本·中国に古来よりあるが(「魏志倭人伝」etc.)､自分的に思い当たるのは､半村良の代表作の伝奇SFロマン『妖星伝』(←アメリカ人が知ってるのか？)｡ "鬼道"って､漫画·アニメの『BLEACH』にも､出てくるみたいだが……アニメ『BLEACH』より『キル·ビル』の方が先かな……？ "B.B."で思い当たるのは､これまた漫画､石渡治の『B.B』。裏社会の"闇ボクシング"から､傭兵やソ連特殊部隊まで殺人術のプロが登場するし､Vol.2でキドーが土中の棺桶を破ったワザは『B.B』に出てくる必殺技"10cmの爆弾"では……!?(←これもアメリカ人が知ってるのか!?) 最後に出てくる"五点掌爆心拳"って､まるで『北斗の……いやぁキリがないから､このへんまでにしておきましょう。まぁ､考えすぎかもしれないのだが､アレコレいろんな思いを巡らせて楽しめるということは､ある意味で極上のエンターテインメントと言えるのではないでしょうか。

これが2回目の鑑賞。 Vol.1と比較するとこちらはしっかりとしたドラマ仕立て。 子供を愛する母親の物語でもいいましょうか。 激しく、テンポ良いアクション・シーンは激減するも、これはこれで見ごたえあり。 あえて情緒的な作りにしているが大成功でしょう。 感動します。

vol.1で散々やりたい放題してしまったのか、 vol.2では一転、雰囲気もガラリと変わって始まります。 でもやっぱり映画の根底に流れているのは同じ。 トレーラーハウスでのノッポ女同士の戦いは凄い！ でも本当の白眉はビルの「スーパーマン」談義でしょうね。 個人的に、他の方のレビューにもあるように、 「キル・ビル」はこれで終わりではなく、 エルが後に「座頭市」のように盲目の剣士となり、 vol.1で親を殺された娘を弟子に迎え、 後にキドーとその娘との再対決が・・・ なんて考えてしまいます。 映画好きにはたまらない作品だと思いますが、 あくまで周囲の反応を見ると、これは「見る人を選ぶ映画なんだな」とちょっと寂しくもなります。 でも満点です！

早く廉価版BDが出ますように!

日本語字幕が付いてます

２の方が、断然おもしろいとの日本人スタッフのお話でしたが、 何につけてもそうですが、１を見ちゃうと、普通です。

面白かったです。買ってよかった。

Usato ma assolutamente perfetto. Film da avere assolutamente nella collezione Tarantino

Peliculón. La compré porque sólo en DVD vienen los subtítulos cuando hablan japonés, que es una parte primordial de la peli.

Kill Bill è sempre un cult, come del resto tutti i film di Tarantino. Assolutamente da avere nella propria collezione di film, insieme al primo capitolo.

If, in 'Volume 1', Quentin Tarantino made one of the best movies for people who love Japanese grindhouse, then in 'Volume 2' he made one of the best movies for people who love movies. Tarantino is just about the most unerring director I've seen. He has never made a film that was less than Very Good, and 'Kill Bill Vol. 2' is the greatest of all his films to date. This isn't a sequel to 'Vol. 1', as he didn't decide to split 'Kill Bill' up until just after he finished shooting, it's simply the second half. 'Vol. 1' is an excellent, excellent film, but no where in the range of this one. I grin ear-to-ear all the way through this movie. This is Quentin's most visually beautiful movie yet (and the magnificent opening chapter in the chapel, shot in gleaming black-and-white, is profoundly resplendent, as is the great sequence at Pai Mei's ancient abode, shot in gloriously seventies-style over-saturated greens and glaring whites), and it's where his flair for spaghetti-Westerns comes out the most; the majority of the movie is vintage Wild West. As in all of Tarantino's films, the dialogue is an unadulterated joy, and there's actually relatively little of it here, nearly all of it spoken slowly and ponderously, much of it philosophically, as befits a movie with this Western setting. The way the characters each savor and weigh their words is one of the best aspects of the film; Quentin has never written dialogue as lastingly satisfying as this. In a beautiful scene that grins at us with delight (as is Tarantino's wont), the Bride tracks down a father-figure of Bill's to learn his location, and he tells her a story about taking him to a movie as a little boy, at which he learned what type of women Bill 'was a fool for', even at that age. We learn from this brief story the fancy Bill always had that first attracted him to the Bride long before the 'Kill Bill' story began. Where so many movies would give us a disturbing childhood story explaining how the villain became that way, Quentin gives us one about a likable, positive trait that reminds us of his humanity, just before our heroine confronts him. 'Vol. 2' is nearly his least violent film yet, and I've read both the original script and David Carradine's 'The Kill Bill Diaries', about all he saw of the making of the movies, and it's clear that many of Quentin's best decisions had to do with diminishing or removing the action. In place of the more obvious strategy of showing us a detailed sequence of the Deadly Viper Assassination Squad gruesomely gunning down the people in the chapel, he decided no, pull back and let us just listen to a brief event from a distance, observing it in a kind of silhouette. And in place of Bill firing a warning shot at the Bride and holding her at gun-point while she walks towards a couch to seat herself, he decided Bill simply regards her casually, his pistol just visible at his waist, of which they are both aware. In the earlier idea, all suspense would have been spent with the warning shot. When Bill relates the tale of Pai Mei to the Bride, he decided it would be more effective to let us use our imaginations while listening to Bill's ponderous speech by the camp-fire in the dark than to play seventies Kung Fu footage of Pai Mei in action over the monologue. The first time I saw the movie, the first big thing that struck me was Budd, one of the Bride's three remaining targets. His is a great and tragic character, and Michael Madsen is a great actor. His performance begins in a singularly perfect scene with Carradine which shows us his indifference to, and acceptance of, his approaching probable demise. And for a long stretch the Bride is forgotten, and we simply follow Budd into the lonely strip club he tends bar at, getting a taste of what his existence has become, of his disappointment and withdrawal from life (the scene where he argues with his boss Larry and finally relinquishes both his hat and his pride is worthy of applause). Every time I watch the scene of the Bride's sneak-attack on him, I am more amazed by how exquisitely constructed the whole sequence is. A long, meticulous build-up ending in unexpected truncation is a trade-mark of Quentin's, in activity as well as dialogue. What Budd does with the Bride is endlessly fascinating to me in its brilliant, terrifying, primeval simplicity. This is the stuff of great myths. A while ago I realized I can't truly cherish movies, even great ones, that zip right along, whose scenes each seem to exist mostly to set the next scene up. 'Vol. 2', and for that matter, all of Quentin's movies, allow us to inhabit its scenes' settings, their situations, their characters, their moods. The scenes in this movie are each genuine, distinct places to me. Discussing his 'Jackie Brown', Tarantino said that for a film to last beyond its theatrical run, its scenes need to have substance in themselves and can't only be about that specific film's plot, as you pretty much get that the first time around. He said people often wonder why 'Jackie' has so many 'hang-around' scenes, in which the characters just hang around and talk to each other - scenes about the characters, about great dialogue. He believes those are crucial in bringing people back to a film for the sixth, the seventh, the fiftieth times. What happens when Elle visits Budd when all seems to be finished? They hang out for a while. What basically happens for most of the Bride's stay at Bill's residence? They hang out. In the last chapter the tone of the film changes from the grandiose, Tarantinian adventure of the first four chapters - in which almost godlike characters imprison, and barter, and betray, and apprentice, and battle each other, and do great deeds, and in which much depends on who possesses the Bride's unequalled Hanzo sword - and settles into an intimate dialogue between the story's two central characters (and one other, for a time), in which Quentin subtly and expertly simmers the tension and danger that exists between these two supremely deadly assassins. This section of the film is in keeping with an other trade-mark of Quentin's, that of inserting elements of simplest, uttermost reality into an over-the-top, epic story. With Quentin's help, David Carradine produced a deliriously great performance in this film, as a man who is possibly even more laid-back than Carradine was himself, but who can be deeply, genuinely menacing. In the last chapter, he delivers two of the movie's best speeches, one about the death of a goldfish, the other about his favorite superhero. 'Kill Bill Vol. 2' is the most joyful, the most exciting, the most glorious celebration of the cinema I've ever seen. It is Tarantino's deepest and most emotionally powerful film by far (and the often over-looked sequence of the Bride slowly preparing herself before leaving a bed-room to face Bill is one of the very best in the film) and during an autoexcavation it has one of the very best uses of music I've heard in a movie. The climax of the Bride's raggedly magnificent confrontation with her wicked rival Elle evokes in me the emotion of sheer love. And the scene of the Bride's triumph over the designs of Budd has become one of my central images of the cinema. This film is a human object and it radiates its director's signature passion and love of the movies. Roger Ebert once said that 'The Third Man' is 'the film that most perfectly embodies the romance of going to the movies', or it is for him at least. For me, it's this one.

Brilliant