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Scene of the Week: Hit-Girl Saves Big Daddy


Kick-Ass is a film that goes under many peoples radar, but is, without a doubt, the film which put Matthew Vaughn on the map. Kick-Ass is a very radical twist on the superhero genre, with very adult themes and an extremely realistic approach. I am a huge fan of this film, as it really rings home the inner nerd in me, making it, in a weird way, very relatable. Kick-Ass has many memorable scenes, but none of them really compare to the whacky but inspiring scene, where Hit-Girl, saves her father, aka Big Daddy, which is why I have chosen this to be my Scene of the Week.

The scene starts with Hit-Girl (Chloe Grace-Moretz) presumed dead, and Big Daddy (Nicolas Cage) and Kick Ass captured by the villain of the films, Frank D’Amico’s, henchmen’ With D’Amico wanting to make a point, he airs the execution of both of the heroes over the internet, to make sure that he never has the issue of “super heroes” again. As the whole of America watch, with Kick-Ass and Big Daddy about to be killed, we hear Kick-Ass voice narrate over the scene whilst being tortured, only helping to build more of the tension as they are both about to die. “Even with my metal plates and my fucked up nerve endings, I gotta tell you, that hurt! But not half as much as the idea of leaving everything behind. Katie, my dad, Todd and Marty... and all the things I'd never do. Like learn to drive or see what me and Katie's kids would look like or find out what happened on "Lost". And if you're reassuring yourself that I'm going to make it through this since I'm talking to you now, quit being such a smart-ass! Hell dude, you never seen "Sin City"? "Sunset Boulevard"? "American Beauty"?” states Kick-Ass just before they are about to be burnt alive. As one of the henchmen slowly walk up behind them with a lighter in his hand, ready to ignite the heroes, he is shot in the head by the presumed dead Hit-Girl…

Hit-Girl proceeds to take out all of the lights, leaving the entire gang blinded, seeing her switch to night-vision, as we watch this little girl take on an entire gang of men, like they are nothing. In pure panic a henchman sets Big Daddy on fire with the lighter that was held by the leader prior, therefore lighting up the room, giving away Hit-Girl’s position a way. To aid in her attack, whilst burning, Big Daddy screams to Hit-Girl code, saying things such as “Now switch to Kryptonite!” triggering Hit-Girl to add a strobing flashlight attachment to her gun which blinds the criminals in front of her as she shoots them. The fact Big Daddy is burning alive, but still trying to aid his daughter is an incredible representation of the love he has for his 10 year-old girl. That even though he is going through the worst pain ever, he is still only thinking about her safety. She then uses that strobing light as a decoy as she places it on a shelf, making everyone shoot at that whilst she sneaks up behind them to finish them all off.

This scene would not be half of what it is without the for the extraordinary score by John Murphy. There are two tracks played during, that link together perfectly. There’s “Nightvision” and then there’s “Strobe”. What is perfect about the music in this scene is that it captures the epicness of the moment, as this young girl destroys a professional gang of mobsters, as well as there being this strong undercurrent of sadness and emotion as her father is essentially dying whilst she is kicking ass trying to save him. It’s really a piece of music that gives you goosebumps.

I have watched this scene countless times and never get bored. It doesn’t get any more heroic than this moment, and it’s all done by a little girl no older than 10 years old. It’s very strange, but in a fascinating way, which is the theme for Kick-Ass throughout, making this scene perfect, and, in turn, making the director, Matthew Vaughn, a favourite of mine.

#SotW

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