"Do you find me sadistic?"
This is an essay about BDSM themes in Kill Bill.
From the very beginning, we are told that this film — at least from Bill's point of view — is defined by sadism and masochism.
This would be a great moment to note that the film doesn't show a BDSM dynamic between the Bride and Bill, but an abusive one, in an exaggerated fictional story. But there are plenty of reasons it turns me on, as an experienced submissive who is into fucked up stuff.
First: the amount of straightforward fetish content. Obviously there is foot fetish content because this is a Tarantino movie, bondage, spanking, schoolgirl outfits, nurse outfits, confinement, amputation, and the cruel tutelage of Pai Mei.
My only true fetish: eyepatches.
Kill Bill is also very concerned with suffering. The Bride finds deep meaning in her suffering at the hands of Pai Mei, smiles when she remembers his training, and is appalled when she learns that Elle disobeyed and poisoned him. But he is extremely cruel, beating her with a cane, threatening her with sleeping outside "like a dog," forcing her to practice punching a wood block until her hands are too stiff and too painful to hold chopsticks to eat. She accepts this.
With Hattori Hanzō, too, she is respectful, earnest, and appropriately submissive. What we are told to respect in The Bride and in O-Ren Ishii is the honour and respect for authority with which their violence is tempered, compared to the cowardly behaviour of Elle, Buck, and Vernita. We can also notice that The Bride is one of few characters to correctly pronounce Japanese names, and to bother to learn Japanese, Mandarin, and Cantonese, to properly communicate with those she is learning from.
We see relatively little of her former relationship with Bill, but it is clear that it is an affectionate one. There is of course a suggestion of grooming, as Bill has already begun with The Bride's daughter BB. He calls The Bride "kiddo," he teaches her in a patronising and patient tone — he reminds me, at moments, of some Dominants I've had.
And though the consequences are brutal, both characters carry their personal qualities through to terrifying extremes. Bill is a sadist and a killer. He patiently explains to The Bride that if she thought she could never be subjected to his violent nature, she would have been wrong: "There are consequences to breaking the heart of a murdering bastard. You experienced some of them."
And so, he commits his graphic act of gratuitous cruelty — he shoots up his pregnant former lover's wedding party, letting her watch and shooting her last. He leaves her comatose in hospital, with no knowledge of what happened to her baby. (Long before all of this, he drops her off to be a student of Pai Mei, knowing his cruelty, and surprises her as he is leaving with the revelation that she will be spending years with him.)
While I hope not to be in a dynamic with a killer, something I have appreciated very deeply in my D/s relationships is a person's utter commitment to their role, to their own nature, to being seen for what they really are. Bill respects the Bride's quest for revenge, though he also is out for blood — he even stands down his assassins when he judges a potential kill not honourable enough — and, finally losing his fight with her, walks away to his death.
Kill Bill is a film about cruelty, and respect — about understanding the reasons someone would choose suffering, and the reasons they would inflict pain. It's a film about seeing the beauty in deliberate violence.