‘Inglourious Basterds’ is a World War II Movie Done The Tarantino Way
WRITER’S NOTE: This review was originally written in 2009.
“Nazis, I hate these guys!”
-Harrison Ford from “Indiana Jones and the Last Crusade”
“You know somethin’, Utivich? I think this might just be my masterpiece.”
-Brad Pitt as Lt. Aldo Raine
Could this truly be Tarantino’s masterpiece? Hard to say, but it is indeed his most ambitious movie to date. “Inglourious Basterds” is another brilliant love letter to all things cinema from Quentin Tarantino, and it ends the rather crappy 2009 summer movie season on a high note. With this film, Tarantino has created his own version of World War II and has given it an ending many of us would have preferred to have seen happen. It is also his tribute to movies like “The Dirty Dozen” and other war movies of its ilk. It is not a remake of the film of the same name, but it uses the same title out of respect.
“Inglourious Basterds” is told in a series of chapters, and it features several different threads of story which eventually intersect at the film’s fiery climax. We meet our chief Nazi villain, Col. Hans Landa (Christoph Waltz) as he questions a family as to whether or not they are hiding any Jews, but we soon realize he is asking questions he already knows the answers to. Then we are introduced to the Basterds themselves, and they are led by Lt. Aldo Raine (Brad Pitt) who announces that they are being dropped into Nazi occupied France to do one thing and one thing only, kill Nazis. Not only that, they plan to take souvenirs to show the Nazis they mean business. Then we meet Shosanna Dreyfus (Melanie Laurent), the only Jew to escape Col. Landa’s deadly grasp, and she has since found a safe hiding place as the owner of a German cinema which will soon host the most powerful members of the Nazi party for a film opening gala. Little do they know of the act of brutal vengeance which will eventually greet them…
At a running time of 153 minutes, “Inglourious Basterds” is one of those rare movies which really takes its time. There’s no big rush to get from one big action set piece to the next which is usually case with just about every summer movie released from one year to the next. Even while The Weinstein Company had to work with Universal Pictures to get this film made, Tarantino still gets full creative control which is a blessing for those of us who love his films. We also get the great dialogue we have come to expect from him, and there are moments where words speak louder than actions. There are many verbal duels between characters as each one tries to outdo the other, and what is implied by them ends up generating an amazing amount of tension.
Tarantino also retains a keen eye for casting, and he has said one of the actors he chose did in fact give him back his movie. That actor would be Christoph Waltz who plays the intelligent but deadly Col. Hans Landa. Waltz won the Best Actor award at this year’s Cannes Film Festival, and the way I see it, they should just hand him the Oscar come next March. Brilliant seems too subtle a description to describe his performance. His role is an extremely difficult one to pull off because he has to come off a certain way while allowing us to see in his eyes what he already knows. Waltz comes off with simple gestures which leave us deeply unnerved, and there is a key moment where he deals with a character that serves as a great cat and mouse moment as he tries to figure out the person he sees before him while she tries to remain calm and hide who she really is from him. Waltz’s opening scene with the French farmer is remarkable in how he psychologically tears him down to where he finally admits he has no choice and reveals what Landa already knows.
I’m not sure if I have seen Waltz in other movies before this one, but I look forward to seeing more of his work in the future. Seriously, his character is to “Inglourious Basterds” as Heath Ledger’s Joker was to “The Dark Knight.”
Then we have Brad Pitt who I am glad to see get down and dirty after being all cute and cuddly in “The Curious Case of Benjamin Button.” As Lt. Aldo Raine, he starts off by giving a speech to his men which makes him come off like George C. Scott in “Patton.” It is clear Pitt is having a ball playing this character and saying the dialogue Tarantino has written, and he looks to have saved some of the manic energy he had in “Burn After Reading” for this role. While performance at times comes close to caricature, he has us rooting for Aldo throughout.
Tarantino also continues to be great at writing strong roles for women. Mélanie Laurent does great work here as Shosanna Dreyfus, the Jewish woman who is the only survivor of Landa’s murderous rampage. Throughout the movie, she goes from playing it cool around the Nazis to being terrified as she comes under close examination from them. She has managed to maintain her cover as a German while running her own cinema, and she also has to fend off the advances of Pvt. Fredrick Zoller (Daniel Brühl) who is something of a pop star in the Nazi party when he meets her. She also has a strong relationship with her boyfriend projectionist, Marcel (Jacky Ido), which allows her to show compassion she would otherwise have to keep hidden from the prying eyes of those out to eliminate Jews. Laurent gets to portray many different facets of her character throughout the movie’s running time, and her performance is every bit as memorable to me as Waltz’s was.
I also got a big kick out of Diane Kruger’s highly entertaining performance as film star Bridget von Hammersmark, a Marlene Dietrich type. Kruger is a wonderful presence as she goes from being an outgoing actress who always seems to enjoy the company of others to a tough woman who shares in the Basterds passion of doing in the Nazis, most especially Hitler. Best known for her work in “National Treasure” and “Troy,” she really comes into her own here.
“Inglourious Basterds” has a great cast overall with other memorable turns from actors like Michael Fassbender as a British spy posing as a German officer, and Sylvester Groth who portrays the irrepressibly snooty Joseph Goebbels. It’s also a hoot to see Mike Meyers here in a “guest starring” role as a British general, and it almost fully makes up for the mess he inflicted on us with “The Love Guru.” Eli Roth, the so-called “torture porn” director, is also on board as Sgt. Donny Donowitz, aka “The Bear Jew.” Although this role was originally intended for Adam Sandler, it almost makes sense the “Hostel” director would play a soldier who beats Nazis to death with a baseball bat.
Many of Tarantino’s favorite movie devices are on display here including the “Mexican standoff” and endless talk about movies, but here they feel much fresher and exhilarating to watch. The scene in the German bar where a Nazi soldier is celebrating the birth of his son may seem a bit too long, but Tarantino builds the scene to a fever pitch of tension as everyone has their gun on the other, and you watch in terrifying anticipation as to who will shoot first. With the character of Shosanna, he takes the time to express his love of foreign cinema. In his other movies, especially the “Death Proof” portion of “Grindhouse,” he mostly speaks of his affection for American movies and pop culture, but his love of cinema never stops there.
Tarantino also gives us another great soundtrack which is a collection of film scores from other movies, and of songs capturing the essence of his characters to the letter. Interestingly enough, much of the music is not from the WWII period, and he even uses David Bowie’s theme song from Paul Schrader’s 1980’s “Cat People” remake to perfectly capture Shosanna in her final preparations for her much deserved revenge. As with the “Kill Bill” movies, he makes effective use of the film scores of Ennio Morricone who remains a big influence on his own work. It didn’t take me long after seeing the movie to buy the soundtrack, but I do wish it was on sale.
Many will complain of how inaccurate this film is to the historical facts of WWII, but they are just wasting their time. We should all know by the time we head into the theater that Tarantino is not out to be anymore as historically accurate as Michael Mann was with “Public Enemies.” Every once in a while, you need a movie which breaks the rules, and it is such infectious fun to see “Inglourious Basterds” break down the normal conventions of the typical WWII movie. So many of them over the past couple of years tend to be depressing affairs which deal with the humanity lost, but Tarantino is out to do the exact opposite. “Inglorious Basterds” is a fantastic genre movie which borrows from many movies, and he is still genius at taking elements from them all and making them his own.
2009 has been a bad year for movies thus far, but “Inglourious Basterds” is one of the best and is yet another cinematic triumph for Tarantino as it shows he is no one trick pony. I just hope we don’t have to wait another 6 years for his next film.
* * * * out of * * * *