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Movie: Inglourious Basterds


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Saw it. I will go with RDK's review: Liked it (a lot), didn't love it.

Worth seeing? Abso-fuckin'-lutely, especially if you're a QT fan. It's just not his best film. "Kill Bill" (both parts) was his best film. It was the absolute essence of QT's style: Fun, violent, well-acted, thoroughly engrossing. This film is all of those things as well, it just doesn't do it as well as "Kill Bill" did.

If I had to nail down the biggest problem, it would probably be the story itself: It's rather thin. Nowhere near as compelling as the Bride's quest for vengeance.

The film is, however, chock FULL of great performances. Pitt does a terrific job (as he almost always does), but he's actually the LEAST of the actors here. Check out the woman who plays Shoshana. She comes close to matching Uma as the Bride in "Kill Bill" (she also kinda looks like Uma. QT clearly has a "type"). And the actor who plays the "Jew Hunter" turns in an amazing performance. He's charming, vile, and completely off his fuckin' head.

I wished that we'd learned a bit more about the Basterds themselves. They're Jews who kill and scalp Nazis, but who else are they? Who were they BEFORE the war?

The climax is great. The audience applauded when Hitler died (if you don't want to know, don't highlight his name). Only QT could have pulled THAT one off (although one kid sitting near me in the theater actually asked one of his buddies, "Is that how it really happened?" I wanted to slap him). Shoshana's face on the burning screen is an image that will stay with me for a long time...

Edited by Alexander
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Just got back from the 10:15 showing and I agree with both RDK and Alexander's reviews. I thought Christoph Waltz (Col. Hans Landa) did a phenomenal job. I mean, who can actually play such an evil Nazi, and be so funny and likable? My favorite scene had to be in the Tavern. Classic Tarantino!

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Just got back from the 10:15 showing and I agree with both RDK and Alexander's reviews. I thought Christoph Waltz (Col. Hans Landa) did a phenomenal job. I mean, who can actually play such an evil Nazi, and be so funny and likable? My favorite scene had to be in the Tavern. Classic Tarantino!

The Tavern scene was one of the best in the film. Very suspenseful, straight out of the Hitchcock playbook. You KNEW that somebody was going to slip up. It was just a question of when. Personally, I thought that the German who murdered his officers was going to snap...

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Saw it last night. Very entertaining! Pretty much agree with Alexander, except that I still haven't seen Kill Bill (sorry.)

What I particularly liked was the sober realism of the film.

( :) )

Some mixed reviews had me a little concerned, so frankly, it was better than I expected. Which is always nice. Some terrific performances. I think one of Tarentino's greatest strengths as a director is his rapport with actors. Christoph Waltz was indeed amazing. And he won the acting prize at Cannes for this, I believe. Deservedly so.

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I finally saw kill bill vol 1 the other day

Plan to see IB this friday

The thing I love about "Kill Bill" (and indeed all of QT's films) is the sense of joy. Films this violent can be grim affairs (look at Rob Zombie and Eli Roth's oeuvres), but that's NEVER the case in QT's films (even "Death Proof," which is ostensibly a "slasher flick"). His films are vibrant, full of life and positively joyful. There's a real sense of FUN when Uma is laying waste to the Crazy 88s in the House of Blue Leaves. The violence, while bloody, is almost cartoonish. Not for nothing does "Kill Bill" contain an anime sequence: The whole FILM is anime.

If you haven't seen it yet, "Kill Bill, vol.2" has a completely different feel. It's darker and more frightening, but it retains that sense of fun and joy (take Bill's soliloquy on Superman/Clark Kent or the whole "Cruel Tutelage of Pai Mei" sequence, just for two great examples. Or even Daryl Hannah's recitation on the Black Mamba). There are disturbing moments (Uma buried alive during the "Lonely Grave of Paula Schultz") but they are balanced with great performances (Michael Parks, Gordon Liu, and Michael Madsen (who delivers the best line in both films: "That woman deserves her revenge and we deserve to die." It's such a great line, QT uses it twice), not to mention David Carradine who manages to dominate both films, despite only appearing the second). There is so much to "Kill Bill," you can watch it again and again and always come away with something new.

Back to "Inglorious Basterds." One of the things I LOVED about its the fact that almost two-thirds of the film is either in French or German. QT's films tend to attract two kinds of audiences: Cinema junkies (like me) and young men (always young men) who come for the action and the violence. I really enjoyed the fact that the latter group (a group who would sooner shoot themselves than go see a "furrin film") is forced to read subtitles for almost the entire film. I also loved the fact that QT cast largely French and German actors in the key roles. As one critic noted, the roles of Shoshana and Landa are roles much of Hollywood would have given their left nuts to play, but QT gave them to supremely gifted European actors who are almost unknown in this country. It enriched the film enormously.

I'm going to have to go see it again...

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Alex, you're right on the money. There's a palpable sense of joy to "IB" that's infectious and liberating. And I got a sense from this film that it was less a live-action cartoon (though one could certainly say it had "cartoonish" aspects) as it was a filmed comic book. There's a distinction there, somewhere, though it's more of a gut reaction on my part than anything I'm prepared to analyze further right now. Also, it did amuse me that there were so many subtitles while the audience that I saw it with was overwhelmingly young male. I assume, too, that you were just as pleased as I was by how the movie was practically a love-letter to film geekery in general. Not only the references (Max Linder, Chaplin, G. W. Pabst, Emil Jannings, David O. Selznick, etc.) but that the plot hinges at several points on cinema.

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Alex, you're right on the money. There's a palpable sense of joy to "IB" that's infectious and liberating. And I got a sense from this film that it was less a live-action cartoon (though one could certainly say it had "cartoonish" aspects) as it was a filmed comic book. There's a distinction there, somewhere, though it's more of a gut reaction on my part than anything I'm prepared to analyze further right now. Also, it did amuse me that there were so many subtitles while the audience that I saw it with was overwhelmingly young male. I assume, too, that you were just as pleased as I was by how the movie was practically a love-letter to film geekery in general. Not only the references (Max Linder, Chaplin, G. W. Pabst, Emil Jannings, David O. Selznick, etc.) but that the plot hinges at several points on cinema.

I was particularly tickled by the reference to Selznick for a personal reason: I played Selznick in a production of "Moonlight and Magnolias" (a play about the writing of the "Gone with the Wind" screenplay) a little less than a year ago. It was a great role, and I got a gratifyingly good reaction (one playgoer told me that I was "born" to play Selznick, while a critic wrote that "inhabited" the role).

But, yes, the film geekery is a big part of any QT film. At heart, all of his films are love-letters to his favorite filmmakers, actors, and genres. Only a QT film would set its climax in a movie theater and make one of its heroes (albeit a doomed one) a film critic (as well as making one of its villains a producer)!

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I just got back from seeing it. I really enjoyed it, but I've always been a Sergio Leone fan. Loved most of it but felt a bit "endistanced" near the end when I started to worry about whether they were going to re-write history.

That didn't bother me at all. It's a movie. Think of it like one of those Captain American comics from WWII where Cap was punching uncle Adolf in the jaw. That never happened either, did it? Does THAT bother you? No? Exactly. It's fantasy.

I actually thought the ending was brilliant. There's a problem performers often have in improv where they start stalling towards the end of a scene because they don't know what's going to happen next. The way to break out of it is to just DO something, and then see what happens. THAT, whatever it is, becomes "what happens next." Apparently one of the reasons it took Tarantino so long to finish the movie (he was working on the script back in the 90s) was that he didn't know how to end it. I imagine that be broke through it in much the same way. Can't think of how to end the movie without rewriting history? Then rewrite history! See what happens after that. THAT'S the end of your movie.

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