Yes, Uma Thurman is mad.
She
has been raped. She has been sexually assaulted. She has been mangled
in hot steel. She has been betrayed and gaslighted by those she trusted.
And
we’re not talking about her role as the blood-spattered bride in “Kill
Bill.” We’re talking about a world that is just as cutthroat, amoral,
vindictive and misogynistic as any Quentin Tarantino hellscape. We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction. Playing
foxy Mia Wallace in 1994’s “Pulp Fiction” and ferocious Beatrix Kiddo
in “Kill Bill,” Volumes 1 (2003) and 2 (2004), Thurman was the lissome
goddess in the creation myth of Harvey Weinstein and Quentin Tarantino.
The Miramax troika was the ultimate in indie cool. A spellbound
Tarantino often described his auteur-muse relationship with Thurman —
who helped him conceive the idea of the bloody bride — as an Alfred
Hitchcock-Ingrid Bergman legend. (With a foot fetish thrown in.) But
beneath the glistening Oscar gold, there was a dark undercurrent that
twisted the triangle.
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