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Plot: In Nazi-occupied France, young Jewish refugee Shosanna Dreyfus witnesses the slaughter of her family by Colonel Hans Landa. Narrowly escaping with her life, she plots her revenge several years later when German war hero Fredrick Zoller takes a rapid interest in her and arranges an illustrious movie premiere at the theater she now runs. With the promise of every major Nazi officer in attendance, the event catches the attention of the "Basterds", a group of Jewish-American guerilla soldiers led by the ruthless Lt. Aldo Raine. As the relentless executioners advance and the conspiring young girl's plans are set in motion, their paths will cross for a fateful evening that will shake the very annals of history. Runtime: 153 mins Release Date: 01 Oct 2009
to be missed! It's not for everyone, certainly if you're not a fan of Tarantino's style, this may be a little hard to swallow, but never-the-less, it is a film which simply has to be seen. No self respecting film fan should miss this. And the performance of Christoph Waltz... Oscar don't you dare ignore him!!
..."Inglorious" as our local theater decided to display its title on their marquee, minus the second word. It is terrific cinema.I don't hesitate to recommend this film to all but the over-squeamish. Let them never know what they're missing.I did hesitate to give it ten stars because of my experience of Tarantino's previous films. In every case, save "Reservoir Dogs," they have improved with additional watching.So although I gave it ten stars, I did so reluctantly. It leaves me no "up" to go to.Yes Christoph Waltz is the Nazi we've all imagined <more>
the worst to be. He is cultured, sophisticated, suave and most sadistic, the kind of man who can make a glass of milk a threat and who puts out his cigarette abruptly in a strudel, grinding it into the whipped cream as if he were grinding his heel into a victim.To understand Tarantino's films, you need only have a sense of dialogue, color and pacing. The colors are as bright as necessary and when necessary, brighter yet. In the French farmhouse of the opening scene, they are muted and dark, but excessively so. Outside a brilliant sun is shining, but in the one room of the house, everything is bathed in shadows and black.It is a brilliant setting for an interrogation by Waltz, as the "Jew Hunter" of the SS, who dangles his host French farmer over the precipice of revealing what he cannot reveal numerous times, then pulls him back with obsequious lines of friendship and understanding.A second sadistic German, well-played by August Diehl, later functions as important actor in the final plot twist. Diehl's Nazi Major, who has an ear for German accents, is almost as good as Waltz....almost.Film classes will study much from this movie. They should look lovingly at the superb pacing. Tarantino knows just how long to draw out a scene, building suspense in the manner of Hitchcock, then at just the breaking point, suddenly coming to a resolution.For color, look for a final shot at a French Theater, where its secretly Jewish proprietor is staging a surprise for the upper reaches of Nazi leadership.We see her, played by Melanie Laurent, awaiting the hated German dignataries who will arrive for a film preview of the latest Deutsch film masterpiece, a propaganda piece about a German hero and his dubious accomplishments.Laurent is framed on a balcony, reflected in the glass mirrors of the gorgeous theater, her red lips and low cut dress reflecting everywhere the intensity of her designs on her guests. It is a single shot that would be worth an entire film.There are thankfully many more such images, many more paced scenes of exquisite dialog and suspense.In short, see it. I'm sure you'll see it again and again.
I must admit when I saw the preview for "Inglorious Basterds" I gave myself big expectations. THIS FILM DID NOT Disappoint.Rarely when I watch a movie with such high-expectations do I have those expectations met or exceeded; this film did that and more. Even more rarely do I clap at the end of a movie, this I and everyone else in the theater did.I have to say I am a little biased towards Quentin, I grew up with "Pulp Fiction." I watched it when I was 12 and it is still my favorite and most influential film.However, since then Quentin has not really lived up to his billing. <more>
His style was getting a little predictable instead of familiar, the quality honestly wasn't there I never watched Jackie Brown, and then there's Grindhouse . That is until "Inglorious Basterds." What Quentin did was exactly what was needed for the war genre, a spaghetti western feel that could only be done by Tarantino or Sergio Leone, but seeing how Leone is dead, Tarantino's the self appointed guy on this masterpiece.So let's look at the movie which I won't give away. The writing was spot on, a beautiful transition between using not one but four different languages in this movie. Not to mention this movie was set up in the classic Tarantino mold, great scenes of rich meaningful dialog and sudden shocking action.The acting was superb!! Christopher Waltz deserves an Oscar, seriously. I don't say that often, but honestly the man should get one for this movie, he spoke every language in this movie, and delivered with such amazing touch and poise. He stole the show in a movie that everybody was amazingly impressive.I have no problem building this movie up, because this movie is the best film I've seen all year, and probably all of next year. Quite frankly the more I think about it, this movie may crack my top films of all time, and is Quentin's best movie since "Pulp Fiction." Take it from me, watch this film. I loved it doesn't do this movie enough justice.I watched it yesterday and I'm still blown away. Thank you Quentin from the bottom of my heart for you making this movie. You're back on top again buddy. I can't say enough for "Inglorious Basterds!"
Quentin Tarantino is a Crazy Basterd (by Billy_Costigan)
I can't imagine a director whose thirst for blood and violence is greater than Quentin Tarantino's. At least in his films Inglourious Basterds is no different. We all know Tarantino, the guy who exploded on the scene in the early 90s with cult classics, such as Reservoir Dogs and Pulp Fiction. Since, he has been a disappointment for some. Well, I am relieved to say, Tarantino has not lost his touch. He brings us his best since Pulp Fiction and thankfully so.We know the story, a WWII tale told only as Tarantino can. Fictional of course A war film hasn't been done like this <more>
Inglorious Basterds is a dark and violent comic fantasy, gloriously so. Built on the framework of The Dirty Dozen, Inglorious Basterds ditches the elongated training sequences of The Dirty Dozen to plunge into the action right away. In the process, Tarantino fixes one of The Dirty Dozen's major flaws by giving the bad guys screen time to remind us just how bad the Nazis were. The Nazis with the most screen time end up becoming the most completely human characters in the film, which ironically makes them even worse monsters.Bu ditching the training sequences, Tarantino is also able to give <more>
us a picture of the entire war, showing us not only British, American and German soldiers, but also giving us glimpses into the world of French and German civilians, both collaborators and Resistance.It goes without saying that any Tarantino film is going to have fantastic dialogue, but when Tarantino made the decision to have the French characters speak French and the Germans speak German, beyond adding a level of authenticity, Tarantino also somehow ensured that his dialogue in French was as sharp and funny and clever as his English dialogue.Case in point, during the opening sequence the Nazi "Jew Hunter" SS Colonel Hans Landa Christian Waltz is interrogating French dairy farmer Perrier LaPadite Denis Menochet . Landa suspects that LaPadite is hiding a family of Jews. While subtly pressuring LaPadite, Landa asks for a glass of milk. After greedily gulping it down, Landa compliments LaPadite on his daughters and his cows, "Ã votre famille et Ã vos vaches, je dis bravo." The thing of it is, in French "vache" means cow, but it is also a vulgar name for the vagina. If reprimanded for this vulgar pun, Landa could quite convincingly claim not to understand French well enough to have meant it that way, but Landa does mean it that way and he means it as a threat. And LaPadite understands his meaning all too well.That is a really subtle piece of acting and word-play that many audiences would never catch, or at least they might understand the subtext without knowing the exact nature of the threat. The film is rich with that kind of detail. All of the French and English dialogue is chosen with that same attention to detail and while I can't swear to the German, I would suspect that it shows a similar level of craft.Inglorious Basterds opens with the phrase, "Once Upon a Time... in Nazi-Occupied France." Personally, this reminds me of the opening of every Asterix book and movie, another comic fantasy in a war-torn occupied France. Like Asterix, Inglorious Basterds is howlingly funny in places, although the film also turns darkly serious.In its more serious moments, Inglorious Basterds reminds us that the first casualties of war are compassion and the ability to relax, as in almost every elongated sequence of the film, Tarantino finds a new way to build cruel tension to almost unbearable levels.Tarantino also reminds us that film is dangerous, even inflammable and that its power deserves respect.If you can see this film as I did in a packed theatre filled with knowledgeable fans who get every joke, that you will see this masterful film the way that it was meant to be seen. If you are not that lucky, all that you will see is a great, great film that delivers a darkly funny punch.
Brad Pitt sticks his index finger in Diane Kruger's leg wound and keeps it there until he gets what he wants. Funny, horribly so. The invented yarn takes "The Dirty Dozen" for a ride and sometimes abandons it to pay tribute to other movies. Lots of fun. Even "Paris when it sizzles" is mentioned in a delightfully organic piece of dialog. I was thrilled by Christoph Waltzer's character and by his sensational performance. Brad Pitt creates a true original. I love the actor's lack of vanity. There's a quirk in the character that is pure Brad Pitt. Tarantino <more>
visits a new universe but. fortunately, his hand. his brain and his heart are visible all over the place.
It just goes to show how wrong you can be. I had not expected to like this film. I was disappointed by both the Kill Bill films although i preferred the second and Death Proof although it was better in the shorter cut of the double-bill release . I love Reservoir Dogs, admire Pulp Fiction and think that Jackie Brown is Tarantino's most mature piece of film-making - technically his most superior - including the last great performance elicited from Robert De Niro. Since then it seems to me while his films have been okay i haven't hated them he has been treading water in <more>
referential, reverential, self-indulgent juvenilia.Then i read the script last year for Inglourious Basterds - and i hated it! Sure it had some typical QT flourishes and the opening scene was undeniably powerful. There were a couple of great characters. But on page it was more juvenile rubbish, largely ruined by the largess of the uninteresting Basterds of the title. It made me seriously contemplate not seeing the film. The trailers did nothing to convince me. I only changed by mind when i had the opportunity to see the film with a Tarantino Q&A following in London. I figured it would be worth enduring to hear him in Q&A as i know from interviews how entertaining he can be in person.So little was i prepared for the sheer exuberant fun and brilliance of Inglourious Basterds.Easily Mr Tarantino's best work since Jackie Brown it is a triumph.Yes the references are there but they do not interfere with the story, they are not the driving force. Yes Eli Roth is stunt casting but he works fine, with little to do but look aggressive, and does nothing to hurt the film as i had feared. While i admired Mr Tarantino for using stuntwoman Zoe Bell as herself in Death Proof in order to amp-up the exhilaration of the major stunt scene her lack of any acting ability in a key role was a problem for the film. The same could be said of Tarantino's own appearances in several films, especially Robert Rodriguez's From Dusk Till Dawn, which Tarantino wrote.What really makes this work is how BIG it is. The spaghetti western vibe to much of the style, dialogue and performances is wonderfully over the top without descending too far into the cartoon quality of Kill Bill. The violence is so big. The audacity so big. Brad Pitt is so big! In the trailers the Hitler moment and Pitt's performance bothered me but in the context of the film they are hilarious. Pitt is actually brilliant here, exactly what he needs to be. He is Mifune's blustering samurai in Yojimbo, he is Robards Cheyenne from Once Upon a Time in the West, there is a very James Coburn vibe to him, and of course a suitably Lee Marvin edge.Christoph Waltz who i did not previously known and Melanie Laurent who i first noticed in a brilliant French-language British short film by Sean Ellis are sensational and i expect to see both used a lot more in the future. Tarantino has clearly not lost his eye for casting, which seemed to desert him in Death Proof. Waltz is equally large in his performance. Chilling, yet theatrical. He is Fonda from OUATITW, Van Cleef from Good, The Bad & the Ugly. And Laurent is suitably Cardinale innocence but tough, a fighter. They both dazzle here.That every member of the cast gets the fun to be had from what they are doing while not indulging themselves in just having fun and trying to get laughs helps tremendously. The laughs - and there are loads - come organically. Only Mike Myers comes close to tipping the wink and pushing it too far but his scene is reigned in just enough - with the help of a fantastic Michael Fassbender who seems pulled directly from the mold of Attenborough's Great Escape leader.All the actors shine and Tarantino throws in wonderful flourishes, but ones that work with the story. The introduction of Schweiger's Hugo Stiglitz is a riot. After a sensational slow-burn opening and a glorious intro to those inglourious Basterds the pace never lets up and over two and half hours flies by.It also looks beautiful, marking this as a return to real film-making rather than just self-indulgent silliness. The musical choices, as always, are inspired from Morricone on.The film is audacious and hilarious. After a summer when nearly every film has disappointed me it came as a huge surprise that the real fun and entertaining, but also involving and impressive film should be this one, when i would never have believed it from script form. Welcome back QT.
An fun, engrossing, beautifully crafted piece of nonsense, the likes of which we hadn't seen in a long long time. The silliness of the story is marvelously camouflaged with great dialogue and some superb performances. Christoph Waltz must be thinking already about his acceptance speech. What a performance! The civilized monster, polyglot, refined and deadly. He gets us going from the first, sensational scene. Brad Pitt is also wonderful. Was he putting a Mussolinni chin while impersonating hilariously an Italian? I thought so. His character's name sounds like Aldo Ray and I'm <more>
sure that's no accident. The film is full of movie references. Another character is named Fenek, as an homage to his 1970's sexpot, Edwige Fenech. What is already one of Tarantino's trademarks is his sure step along the most immediately recognizable bits of pop culture. He's clearly not a cultured man but a pop expert, king in a world where people get their news from TV, don't read, other than magazines and comics, etc. That's how it happens, to be in the right place at the right time. For better or worse this are Tarantino times.
Inglourious Basterds is a funny, bold and very well-acted tale about a group of Jewish-American soldiers targeting Nazis in France during World War II. I'd say it's easily Tarantino's best since Pulp Fiction, and contains his trademark mix of serious violence, off-key comedy, and hair-raising drama.It's also fuelled by Tarantino's favourite theme of revenge. The central characters are the highlight, and very well drawn; particularly the German Colonel Hans Landa, who's a mix of Hans Gruber and Dr, Evil. Equally standout is Brad Pitt's no nonsense Lt. Aldo Raine <more>
replete with thick southern accent, whose deadpan humour and stoicism run-up nicely against the film's macabre tone.It's a long and dialogue-heavy film and some scenes run well beyond modern cinematic time norms, echoing the pace of 70s classics such as The Dirty Dozen or Bridge Over The River Kwai. It's also divided up into sequential chapters separating out characters' lives, but tells a story in a coherent way Kill Bill didn't.There are a couple of scenes that are very long particularly the basement rendezvous set-up but they sort of torture with their tension and you remain hooked in. At times Inglourious Basterds is very violent and comically so, and that will turn some people off. It's also sort of flippant about serious themes in the same way Guy Ritchie treats his subjects and that might also bother some. Personally I laughed at the outrageous breaking of taboos and remixing of history and so did the audience. Tarantino shows in this film how much mastery he has in the difficult job of mixing the grotesque and the comedic.There are also some nice, wry post-modern touches such as a film critic being recruited as an assassin. In Inglorious Basterds he does what he does best â€“ great characters in extreme environments doing mad things in a funny and violent fashion Finally, the ending is excellent. Masterpiece indeed. I'd happily watch it again.This was shown as a preview in London and Tarantino did a Q&A afterwards.