QT revved up and on a roll, strutted to the front of the house, his comments geared to his demographic who ate it up and gave a standing ovation. Inglorious Basterds however is a must see, feel good, film of the year for everyone. The movie is intense, romantic, funny, fabulous and above all entertaining. It may not be what’s real but it’s what we all wish were real. Opening like a Spaghetti Western, a French twist is soon established and we’re gonna kill us some Nazi’s! Taking the typical film noir of machine guns and moles, murderers and madmen Inglorious Basterds takes a humorous look at serious subject matter.
When it comes to the human condition nothing is ever as simple as stereotypes make it out to be however, by simplifying and dividing a whole person simultaneously into their component parts, each one dimensional character exemplifying specific character traits of the whole, a comparison can be made. Not every person makes the same life decisions to survive yet every choice has its own unique set of consequences. The true horror of the Nazi regime was its ability to break otherwise honorable human beings in the name of survival by giving them impossible choices. Not every ally was a hero and not every Nazi was a villain. Tarantino takes great pleasure in turning stereotypes on their heads.
Everyone starts out idealistic and young, with nationalistic pride unquestioned. Growth however, is often twisted by survival, rationalization and reality. We can all see ourselves in these situations. We can relate. We want to be the tough guy who fights back, who immediately sees right from wrong, but more often then not we aren’t. Blind to reality, compromises are made. We rationalize. Above all we make choices. We can deny our decisions or we can own the consequences, be honest with ourselves or fabricate a reality we can live with.
Refreshingly honest about the brutalities of war, every time we flinch and cringe with horror, a disarming alternative is humorously provided allowing us to laugh at the insanity. Helter skelter violence that is graphic rather than gratuitous tells a story of human choices between country and honor, survival and innocence. Humanity burnt away, empty husks filled with immense intense anger and myopic goals that no longer fit into rational, peaceful society remain. People who have participated in horror are permanently scarred, not just the villains but also the heroes. Life would be so much easier if the scars we carry on the inside were reflected on the outside. If like the picture of Dorian Grey, we wore our choices, our decisions like marks of Cain or scarlet letters on our foreheads and faces just think how much of a deterrent it would be.
Not since Cat People has a Bowie song been used to such classic effect, with such intensity or romanticism. The lady in red, the tragic heroine, sweeps us up in a rollercoaster ride of thrills, chills and glorious retribution. There is a God after all.
Brad Pitt’s southerner doesn’t have the polish and sophistication of a Selznick hero but then it wouldn’t work half as well if he did. Attention to detail: champagne glasses, scars, pipes, fountain pens, color schemes, poodles and cats add depth and perspective. Little actions promote disgust or compassion. Close ups of eyes speak volumes. Subtle references through similarity of actions, facial features and situations abound.
The French are not the only ones who respect great directors. Quentin Tarantino said, “I think… I hope I deliver.” And he does.
When it comes to the human condition nothing is ever as simple as stereotypes make it out to be however, by simplifying and dividing a whole person simultaneously into their component parts, each one dimensional character exemplifying specific character traits of the whole, a comparison can be made. Not every person makes the same life decisions to survive yet every choice has its own unique set of consequences. The true horror of the Nazi regime was its ability to break otherwise honorable human beings in the name of survival by giving them impossible choices. Not every ally was a hero and not every Nazi was a villain. Tarantino takes great pleasure in turning stereotypes on their heads.
Everyone starts out idealistic and young, with nationalistic pride unquestioned. Growth however, is often twisted by survival, rationalization and reality. We can all see ourselves in these situations. We can relate. We want to be the tough guy who fights back, who immediately sees right from wrong, but more often then not we aren’t. Blind to reality, compromises are made. We rationalize. Above all we make choices. We can deny our decisions or we can own the consequences, be honest with ourselves or fabricate a reality we can live with.
Refreshingly honest about the brutalities of war, every time we flinch and cringe with horror, a disarming alternative is humorously provided allowing us to laugh at the insanity. Helter skelter violence that is graphic rather than gratuitous tells a story of human choices between country and honor, survival and innocence. Humanity burnt away, empty husks filled with immense intense anger and myopic goals that no longer fit into rational, peaceful society remain. People who have participated in horror are permanently scarred, not just the villains but also the heroes. Life would be so much easier if the scars we carry on the inside were reflected on the outside. If like the picture of Dorian Grey, we wore our choices, our decisions like marks of Cain or scarlet letters on our foreheads and faces just think how much of a deterrent it would be.
Not since Cat People has a Bowie song been used to such classic effect, with such intensity or romanticism. The lady in red, the tragic heroine, sweeps us up in a rollercoaster ride of thrills, chills and glorious retribution. There is a God after all.
Brad Pitt’s southerner doesn’t have the polish and sophistication of a Selznick hero but then it wouldn’t work half as well if he did. Attention to detail: champagne glasses, scars, pipes, fountain pens, color schemes, poodles and cats add depth and perspective. Little actions promote disgust or compassion. Close ups of eyes speak volumes. Subtle references through similarity of actions, facial features and situations abound.
The French are not the only ones who respect great directors. Quentin Tarantino said, “I think… I hope I deliver.” And he does.
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