INGLOURIOUS BASTERDS
By: Clayton Davis; Joey Magidson; Myles Hughes
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Quentin Tarantino has put together one of his strongest films of his career with Inglourious Basterds...
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DAVIS
Quentin Tarantino, one of the most iconic film directors of cinematic history, has created one of his best efforts yet in Inglourious
Basterds. There’s so much brilliance that Tarantino brings to the table in his newest film. Most notably, it’s an unconventional World
War II film that is not to be taken as a biopic or anything that resembles history. Tarantino tackles the tough subject matter with respect
and diligence. He lives in a time of horror and torment and breathes new light into a repetitive subject (not that I have a problem with
Holocaust films).
It’s a good place to start with the marketing strategy of the Weinstein Company by advertising Brad Pitt as the star lead when its
anything but. Did it get more people in the theaters? Probably. But Tarantino is such a cult phenomenon that his name alone could
have filled some seats. But marketing aside, this is Tarantino’s second best film of his career (can never top Pulp Fiction I guess) but
his most original and clever work to date.
Brad Pitt’s performance is definitely the unsung hero of the picture. It seems as if all his really terrific performances go unnoticed and
they make it up with rewarding mediocre performances like last year’s The Curious Case of Benjamin Button. Pitt has showed such
versatility late in his career such as his “Jesse James” or Chad in Burn After Reading or Richard in Babel. Pitt is showing his strings of
acting. Now, he brings us Lt. Aldo Raine, the leader of the “basterds” and charismatic killer of the Nazis. Pitt is intelligent, hilarious
and engulfed in a role that deserves praise. His role should not, however, be interpreted as a lead role for Pitt becomes a part of an
ensemble piece with different integrated parts which makes for a terrific motion picture.
At this point, we’ve heard the praise for Christoph Waltz whose villainous turn as Col. Hans Landa is one of the most terrifying turns in
our new century of cinema. Waltz is daring and frightening to the depth of quivers rushing down your spine as you watch his
monologues or hyper-tension questioning. Waltz is something of a marvel and should be considered a threat for an Academy Award
next season. Going back to great portrayals such as Anthony Perkins in Psycho or Louise Fletcher in One Flew Over the Cuckoo’s
Nest, Waltz joins the elite list of screens greatest villainous turns.
Other supporting players put forth valiant efforts. Melanie Laurent and Diane Kruger pull in strong performances in a very testosterone
driven picture. Eli Roth, despite his brief screen time does the best especially with his introduction a.k.a. “The Bear Jew” monologue.
The only flaw of the film is it suffers in a mid-film stalemate notably with the cameo by Mike Myers which feels forced and unnatural.
Oscar prospects? In a perfect world, it’d be in all categories. In serious light, Waltz is a definite contender in his respective category
and Tarantino can find himself in the screenplay race once again if guilds take notice. Inglourious Basterds is one of the best films of
the year, mark my words.
***1/2/ ****
MAGIDSON
‘Inglourious Basterds’ may be Quentin Tarantino’s finest work as a filmmaker, which is blasphemy in some circles, and may not hold
up upon repeat viewings to the golden shrine that is ‘Pulp Fiction’, but this much is clear…the wait for this epic was worth it. Tarantino
has fashioned both an incredible homage to war movies of the past while making a World War II movie that you have never seen
before in your life. QT is rewriting history, and in his world, the most powerful weapon against the Nazis is film. Not even movies, but
film itself. You’ll understand once you’ve seen the movie…
The film is fashioned as a group of stories that come together in the end. The film has 5 chapters, but there are two main storylines.
At the outset, we are introduced to the “Jew Hunter” known as Hans Lanza (Christoph Waltz). His encounter with a farmer is the most
tense moment in a Tarantino film (yes, even more that the infamous overdose scene). We also meet Shoshanna Dreyfus (played as
an adult by Melanie Laurent), a French Jew who evades capture and grows up to own a very important movie theater. We next meet Lt.
Aldo Raine (Brad Pitt) and his group of “Basterds”, Jewish Allied soldiers who are in France to torture Nazis. They are infamous to the
Germans, and enjoy it as such. When they learn of an important event to be held at a movie theater, attended by all the majors of the
Nazi party, they want to crash the event. Suffice to say, the owner of the theater is familiar and has some plans of her own.
Much of the plot is best left unsaid (hence the rehash everyone knows about). The surprises and unique directions the film takes are
better left unsullied. What I will say though is that this is a Quentin Tarantino movie through and through. From incredibly long
dialogue scenes to interesting music choices to a snappy script to a foot fetish, the movie is his and his alone. This may be his most
accomplished work behind the camera, though his script is not far behind. He’s in complete control here, and it’s a joy to behold.
Christoph Waltz’s portrayal of Lanza is sure to get him a Best Supporting Actor nomination, and right now he’s the frontrunner to win
the prize. His villain is one of the most complex in recent memory, and much of what he does will stay with you well after the film is
over. Waltz speaks three languages fluently in the film, and he memorizes you whenever he is on the screen. Brad Pitt hams it up as
Aldo, but his character needs to be bigger than life, so it’s completely appropriate and a lot of fun to watch. His subsidiary Basterds fit
into the background well, with only Eli Roth (perhaps surprisingly) standing out. His “Bear Jew” with a baseball bat is very enjoyable to
watch (and due to his Boston accent, listen to), as are all the characters in the film. This brings us to the ladies of the movie, and
anyone worried about Tarantino’s treatment of women need not anymore. Melanie Laurent is a multi faceted as the projectionist,
gorgeous but ruthless. Diane Kruger is effective in a smaller role as a German actress/double agent. There are a few interesting
cameos, notably Mike Myers as a British officer, Samuel L. Jackson as a narrator, and even the voice of Harvey Keitel.
The movie is thrilling, hilarious, dramatic, tense, and loopy fun. The fact that Tarantino has managed to make the film feel the way it
feels is nothing short of brilliant. He’s obviously very proud of his work here, and he definitely should be. There is some Oscar
potential here, from the technical work to the film itself to Tarantino’s work to Waltz’s masterful performance, but this is less a prestige
picture than a passion project that has the potential to be a huge hit.
‘Inglourious Basterds’ is a little long, and some characters are less developed than others, but aside from that it’s damn near perfect.
I loved every minute of the movie and look forward to revisiting it many times in the coming months and years. Quentin Tarantino has
shown that he’s still one of the masters of the art form, and one day, we may look back on this film and quote the end of the movie,
spoken by Aldo: “I think this might be my masterpiece”.
****/****
HUGHES
I'm not exaggerating when I say this is probably Quentin Tarantino's best film since Pulp Fiction. Picture has everything we've come to
expect from the auteur: long stretches of masterfully engaging dialogue, a series of flawless performances (Christoph Waltz is the
standout as a brilliant Nazi detective, while Brad Pitt steals his scenes with his strongest comedic work since Snatch), and sporadic
bursts of mind-blowing violence. Though the film has been poorly marketed by its studio (all the action you've seen in the trailers
covers about 5 minutes of screentime), it is certainly a crowd pleaser, and reaffirms Tarantino's status as one of our greatest
contemporary directors. As of August, the most entertaining movie of the year.
****/****
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