SPOILER WARNING: The following article contains significant spoilers for "Kill Bill: The Whole Bloody Affair." If you have not yet seen the film, proceed at your own risk!

"Kill Bill: The Whole Bloody Affair," Quentin Tarantino’s original vision for his kung-fu epic before it was cut into two separate theatrical releases, includes a number of details that audiences don’t get from simply watching "Kill Bill Vol. 1" and "Kill Bill Vol. 2" as a double-feature. The four hour-plus film that arrived on the big screen this weekend includes an expansion of the anime sequence (with more of the origins of Lucy Liu’s O-Ren Ishii); a longer, full-color version of the Crazy 88 battle; and it nixes the black-and-white introduction scene from "Vol. 2" (the exposition delivered being rendered unnecessary in the single-sitting cinematic experience).

All of these alterations contribute to the specialness of "The Whole Bloody Affair" and make it superior to the bifurcated cuts… but there is another change that I feel deserves special notice, as it has the effect of transforming the way in which we watch the tale of Uma Thurman’s Beatrix Kiddo a.k.a. The Bride a.k.a. Mommy. What makes it particularly fascinating is that the effect is created simply by eliminating a single line of dialogue.