An Appreciation: Uma Thurman in <i>Kill Bill: Vol. 1 & 2</i>

An Appreciation: Uma Thurman in Kill Bill: Vol. 1 & 2

Uma Thurman performance in Kill Bill: Vol. 1 & 2 has always been more than deserving of high praise. She's outstanding, turning in one of the great performances in film of the last two decades. Not only is the role about as physically demanding as any in recent memory, but through all of the stunts she also delivers an emotional powerhouse of a performance.

As The Bride, Thurman crafted one of the most iconic female performances of our time—or any time, really. Throughout both films, she's put through the wringer by the events of director Quentin Tarantino's madhouse mashup of genre action and suspense. No matter, she's never anything short of outstanding. Whether it's wielding a samurai sword with ease, engaging in knockdown, drag-out fisticuffs, or by using only her eyes to reveal The Bride's steely resolve, she is pure cinematic gold.

Thurman recently opened up to The New York Times, going into detail about events she only alluded to on the red carpet late last year, as the #MeToo movement was gaining momentum. You should read it for yourself, but the takeaway is horrifying: producer and rapist Harvey Weinstein allegedly assaulted Thurman more than once during the heyday of Miramax. At the time, Kill Bill's mastermind, enfant terrible Quentin Tarantino saw Thurman as his muse, even confronting Weinstein when she revealed details of her assault to the director. Yet on set, he behaved abominably and irresponsibly—cajoling Thurman into doing her own stunt driving in a car she and others on set knew to be faulty. There's more; like I said, go read the accounts in her own words. Not only was she assaulted and and marginalized off set, but also "dehumanized" (to use her word) on set.

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It's impossible now to watch Kill Bill without seeing it through the prism of patriarchal abuse and an abhorrent neglect for the safety of the film's star. Yet we shouldn't let Weinstein and Tarnatino's abominable behavior take away from what Thurman achieved in these films. It's a seminal piece of acting. Watching her carry these films on her back was always a marvel to behold, but now? Knowing what we know of what she endured during the making of these films? Knowing how her producer and director nearly killed her—emotionally and physically? Thurman's resilience reminds us how strong women can be—and often have to be—in the face of adversity.

Thurman is angry, and rightfully so. She's naming names and lending her voice to the movement that will, hopefully, bring down every last male abuser in Hollywood and beyond. She's The Bride once more, burning it all down again, with fierce grit and singular determination.

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