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Uma Thurman

Uma Thurman is an actor, born 1970.

Uma Thurman was a teenage model on the cover of British Vogue in 1985 and a film actor by eighteen. Dangerous Liaisons (1988) was the breakthrough, and Terry Gilliam's The Adventures of Baron Munchausen the same year cast her as Venus rising from a shell, which set an early pattern of directors using her for iconography rather than character.

Pulp Fiction (1994) broke that pattern. Mia Wallace is a small part with enormous gravity, played in a deadpan that made the dialogue land, and it brought Academy Award, BAFTA and Golden Globe nominations for supporting actress. The collaboration with Quentin Tarantino continued into Kill Bill: Vol. 1 (2003) and Vol. 2 (2004), where she carried a four-hour revenge epic largely on physical performance and picked up two further Golden Globe nominations.

Between the landmarks the filmography is genuinely strange, which is to her credit. She is the disillusioned insider in Gattaca, Poison Ivy in the much-mocked Batman & Robin, Fantine in the 1998 Les Miserables, a superhero girlfriend in a broad comedy, and twice a participant in Lars von Trier's late provocations, in Nymphomaniac and The House That Jack Built, where her one scene is the best thing in the picture.

She holds a Golden Globe for a television film and remains, for most viewers, inseparable from two Tarantino performances made a decade apart. The gap between what she is famous for and what she has actually done is one of the wider ones in American film.

Movies (61)

TV (8)

Where to start with Uma Thurman

There is no arguing with Pulp Fiction as the starting point, and it earns the place: a handful of scenes set the tone for the entire film, and she plays boredom as though it were a threat.

Kill Bill: Vol. 1 and Kill Bill: Vol. 2 should be watched as one long film, and Vol. 2 is where the performance actually lives, because it asks for talk rather than swordplay. Gattaca is the underrated one, cold and beautifully controlled. Go back to Dangerous Liaisons for what she was doing at eighteen, and to Henry & June for the early adult work that got her typed as an icon. Tape is the small, nasty three-hander almost nobody saw, shot on video in a single motel room, and it is the best evidence that she can act with no stylist anywhere near her.

The films that made her an icon

Four films that between them fixed her permanently in the culture, three of them for Tarantino. Pulp Fiction is the one everyone can picture and Kill Bill is the one that cost her most, physically and otherwise.

The early period work

She was doing Stephen Frears and Terry Gilliam at eighteen, which is a strange place to begin a career. These are the films from before Pulp Fiction, and they show a very different actress from the one the nineties turned her into.

The comedies

An underrated part of the filmography, mostly because the roles are lighter than the icon status leads people to expect. The Truth About Cats and Dogs and The Producers are the two where the comic timing is most obvious.

The darker end

Two films for Lars von Trier and a handful of others where the material is genuinely unpleasant. Her single scene in Nymphomaniac is the best thing she has done in twenty years and almost nobody saw it.

Genres Uma Thurman works in