JohnDoe
Bryn
BrentonInglorious Basterds (2009)
January 25th 2010 00:00
Take Time to Indulge in A Fistful of Dirty Dozens
Writer & Director: Quentin Tarantino
Starring: Brad Pitt, Diane Krueger, Rod Taylor, Eli Roth, Christoph Waltz, Michael Fassbinder, Daniel Bruhl, Melanie Laurent, Gedeon Burkhard, B J Novaks, Til Schweiger, Omar Doom
“Extraordinary, my dear. Simply extraordinary. This is your finest film yet.” – Adolf Hitler
Writer/Director Quentin Tarantino is a brand name now, a product that delivers repackaged pulp that is nourished only by cinemas past and expressed through avalanches of verbose character dialogue in a non-linear story.
His latest film, Inglorious Basterds proves he has mastered the craft of creating quality exploitation with few rivals living or dead. A remake in name alone and 10 years in the making, this is a “Once Upon A Time in Nazi occupied France…” World War II fairytale. A revenge fantasy hemorrhaging sustained tension, nervous comedy and tough guy posturing.
The opening scene is nerve racking. A finger nails on a chalkboard inquisition conducted by a cunning and calculating SS officer, Colonel Hans Landa (Christoph Waltz). As the proud “Jew Hunter” toys with his latest prey, (a family hiding beneath the floorboards), we see villainy that is theatrical but ghastly human and complex.
“What a tremendously hostile world that a rat must endure. Yet not only does he survive, he thrives. Because our little foe has an instinct for survival and preservation second to none... And that Monsieur is what a Jew shares with a rat.” - Colonel Hans Landa
Next, the Basterds introduction is violent verbiage fun. The anti heroes that represent “the good guys” are assembled and drilled by leader Lt Aldo Raines (Brad Pitt). Commanded to exceed their foe in cold blooded murder they are ordered to deliver 100 enemy scalps each. This instantly establishes the pack as relentlessly brutal soldiers warped in an amputated conscience that has been replaced by the “execute-with-extreme-prejudi ce” program.
“Actually, Werner, we're all tickled to here you say that. Frankly, watchin' Donny beat Nazis to death is is the closest we ever get to goin' to the movies.” – Lt Aldo Raine
So the stage is set as the Jew hating Third Reich scumbags try to take over the world a small band of fearless, bullet munching soldiers cave in craniums with sporting goods determined to exact maximum fear on the enemy.
Despite what the advertisers may want you to believe, what has been revealed above is the sub-plot of the film. As this site tries to remain spoiler free all that will be said about the main story is that the Underground French Resistance, a loss of innocence and the burden of hatred play a large roll.
“My name is Shosanna Dreyfus and THIS is the face... of Jewish vengeance!” - Shoshonna
John Doe says:
Tarantino tells his tale for the most part through unbroken scenes of Gestapo sprinkled suspense aerated through gasps of sardonic humour and moody silences. This vignette rhythm is crafted in a frame work of revenge fantasy to result in eccentric beats that captivate with multiple shifts in tone and intent.
Truncating what was potentially an action piece into a cinematic journey that is purposefully paced. Manipulating with mischievous glee, making its entrance as a multiple strand, exaggerated characters-in-combat scenario the film morphs through violent, amusing, repugnant and poetic moments to an appropriately farcical finale. The trilingual storytelling flair, dominant atmosphere and stellar performances from the leading cast make for engrossing entertainment.
The hyper reality elicited by Ennino Morricone’s frequently heard scores boost the already grandiose imagery giving the melodramatic vibe of the classic spaghetti western. Never stagnate, always in flux the eclectic soundtrack which includes Bowie's "Putting Out Fires with gasoline" helps facilitate the bolder sensations of this QT flavoured world.
Strategically shot, there is more of an awareness of scope in the visual design of the film than in any of the Directors previous efforts. The limited external landscapes are precisely inserted to counter the claustrophobic indoor set ups that dominate the locations. The static velocity versus contemplative stillness of the camera is an undetectable sniper serving its purpose.
For all the potent filmmaking techniques witnessed, it is the performances that ensure complete immersion. The most heralded of these being Christoph Waltz whose relishes in committing polite atrocities makes him fascinating and deplorable.
Brad Pitt (Se7en, Fight Club, 12 Monkeys) extends himself as the leader of the Basterds with a kooky accent that occasionally fails but doesn’t minimize watching the obvious glee he seems to be taking in playing the character. Similar to his turn in Burn after Reading Pitt’s extroversions and complete removal of his established quirks results in comedic gold.
Notably Michael Fassbinder (300, Band of Brothers), Diane Kruger (The Piano Player, National Treasure) Melanie Laurent (Room of Death), Gedeon Burkhard (Inspector Rex), Til Schweiger (Body Armour) and Daniel Bruhl (2 Days in Paris, Bourne Ultimatum) all shine bright in their respective screen time. Shockingly even horror Director Eli Roth (Cabin Fever, Hostel) brings a gravitas to the force of timbered ire known as ‘The Bear Jew.
Part homage, part rewriting of history and all about collective wish fulfillment, whether it was intentional or not there is a surprising substance and restrained pleasures to be appreciated beyond the surface satisfactions. The most obvious being the premise of a savage crew of Jew avengers reaping barbaric vengeance on the Nazi’s that addresses the core theme of duplicitous propaganda. Asking, does the blood thirsty support of violent action when in agreement, clash with a civilized morality that can unleash a unified-in-voyeurism physical payback on (Hitler) the most vilified figure of last century?
For John Doe Jackie Brown still remains the Directors most impressive display of skill but Inglorious Basterds is a distinct evolution of his talents. Showing that Tarantino is not just relying on the cult appeal of Pulp Fiction gangsterisms but is determined to grow as a cinema artist who can still impress with character scripting and ebullient montages redefining the works of past masters. For proof look no further than the vibrant Brian De Palma projection booth death scene, the sweeping Sergio Leone opening or the imminent danger lurking in the Robert Alderich Tavern scene.
Inglorious Basterds - The Bluray comes with features that the regular DVD doesn't have.
Writer & Director: Quentin Tarantino
Starring: Brad Pitt, Diane Krueger, Rod Taylor, Eli Roth, Christoph Waltz, Michael Fassbinder, Daniel Bruhl, Melanie Laurent, Gedeon Burkhard, B J Novaks, Til Schweiger, Omar Doom
“Extraordinary, my dear. Simply extraordinary. This is your finest film yet.” – Adolf Hitler
Writer/Director Quentin Tarantino is a brand name now, a product that delivers repackaged pulp that is nourished only by cinemas past and expressed through avalanches of verbose character dialogue in a non-linear story.
His latest film, Inglorious Basterds proves he has mastered the craft of creating quality exploitation with few rivals living or dead. A remake in name alone and 10 years in the making, this is a “Once Upon A Time in Nazi occupied France…” World War II fairytale. A revenge fantasy hemorrhaging sustained tension, nervous comedy and tough guy posturing.
The opening scene is nerve racking. A finger nails on a chalkboard inquisition conducted by a cunning and calculating SS officer, Colonel Hans Landa (Christoph Waltz). As the proud “Jew Hunter” toys with his latest prey, (a family hiding beneath the floorboards), we see villainy that is theatrical but ghastly human and complex.
“What a tremendously hostile world that a rat must endure. Yet not only does he survive, he thrives. Because our little foe has an instinct for survival and preservation second to none... And that Monsieur is what a Jew shares with a rat.” - Colonel Hans Landa
Next, the Basterds introduction is violent verbiage fun. The anti heroes that represent “the good guys” are assembled and drilled by leader Lt Aldo Raines (Brad Pitt). Commanded to exceed their foe in cold blooded murder they are ordered to deliver 100 enemy scalps each. This instantly establishes the pack as relentlessly brutal soldiers warped in an amputated conscience that has been replaced by the “execute-with-extreme-prejudi ce” program.
“Actually, Werner, we're all tickled to here you say that. Frankly, watchin' Donny beat Nazis to death is is the closest we ever get to goin' to the movies.” – Lt Aldo Raine
So the stage is set as the Jew hating Third Reich scumbags try to take over the world a small band of fearless, bullet munching soldiers cave in craniums with sporting goods determined to exact maximum fear on the enemy.
Despite what the advertisers may want you to believe, what has been revealed above is the sub-plot of the film. As this site tries to remain spoiler free all that will be said about the main story is that the Underground French Resistance, a loss of innocence and the burden of hatred play a large roll.
“My name is Shosanna Dreyfus and THIS is the face... of Jewish vengeance!” - Shoshonna
We have ways of making you talk, all of them I enjoy.
John Doe says:
Tarantino tells his tale for the most part through unbroken scenes of Gestapo sprinkled suspense aerated through gasps of sardonic humour and moody silences. This vignette rhythm is crafted in a frame work of revenge fantasy to result in eccentric beats that captivate with multiple shifts in tone and intent.
The tarantino tootsy fetish is ever present
Truncating what was potentially an action piece into a cinematic journey that is purposefully paced. Manipulating with mischievous glee, making its entrance as a multiple strand, exaggerated characters-in-combat scenario the film morphs through violent, amusing, repugnant and poetic moments to an appropriately farcical finale. The trilingual storytelling flair, dominant atmosphere and stellar performances from the leading cast make for engrossing entertainment.
The hyper reality elicited by Ennino Morricone’s frequently heard scores boost the already grandiose imagery giving the melodramatic vibe of the classic spaghetti western. Never stagnate, always in flux the eclectic soundtrack which includes Bowie's "Putting Out Fires with gasoline" helps facilitate the bolder sensations of this QT flavoured world.
Strategically shot, there is more of an awareness of scope in the visual design of the film than in any of the Directors previous efforts. The limited external landscapes are precisely inserted to counter the claustrophobic indoor set ups that dominate the locations. The static velocity versus contemplative stillness of the camera is an undetectable sniper serving its purpose.
For all the potent filmmaking techniques witnessed, it is the performances that ensure complete immersion. The most heralded of these being Christoph Waltz whose relishes in committing polite atrocities makes him fascinating and deplorable.
Brad Pitt (Se7en, Fight Club, 12 Monkeys) extends himself as the leader of the Basterds with a kooky accent that occasionally fails but doesn’t minimize watching the obvious glee he seems to be taking in playing the character. Similar to his turn in Burn after Reading Pitt’s extroversions and complete removal of his established quirks results in comedic gold.
The Cast and their Captain.
Notably Michael Fassbinder (300, Band of Brothers), Diane Kruger (The Piano Player, National Treasure) Melanie Laurent (Room of Death), Gedeon Burkhard (Inspector Rex), Til Schweiger (Body Armour) and Daniel Bruhl (2 Days in Paris, Bourne Ultimatum) all shine bright in their respective screen time. Shockingly even horror Director Eli Roth (Cabin Fever, Hostel) brings a gravitas to the force of timbered ire known as ‘The Bear Jew.
Part homage, part rewriting of history and all about collective wish fulfillment, whether it was intentional or not there is a surprising substance and restrained pleasures to be appreciated beyond the surface satisfactions. The most obvious being the premise of a savage crew of Jew avengers reaping barbaric vengeance on the Nazi’s that addresses the core theme of duplicitous propaganda. Asking, does the blood thirsty support of violent action when in agreement, clash with a civilized morality that can unleash a unified-in-voyeurism physical payback on (Hitler) the most vilified figure of last century?
For John Doe Jackie Brown still remains the Directors most impressive display of skill but Inglorious Basterds is a distinct evolution of his talents. Showing that Tarantino is not just relying on the cult appeal of Pulp Fiction gangsterisms but is determined to grow as a cinema artist who can still impress with character scripting and ebullient montages redefining the works of past masters. For proof look no further than the vibrant Brian De Palma projection booth death scene, the sweeping Sergio Leone opening or the imminent danger lurking in the Robert Alderich Tavern scene.
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