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Message
re: Inglorious Basterds
Posted on 8/24/09 at 2:55 pm to Buck Magnum
Posted on 8/24/09 at 2:55 pm to Buck Magnum
quote:
Subtitles=realism
We have subtitles in real life? I need to look down more often.
1
Posted on 8/24/09 at 4:39 pm to Python
You wouldn't be able to read them anyway because they would backwards to you.
Posted on 8/24/09 at 4:51 pm to NavyLSUAlum
If they were always there you'd know how to read backwards.
Posted on 8/24/09 at 9:49 pm to ccla
Saw it earlier tonight
I absolutely loved it. Comments may ensue tomorrow once I've slept on it.
I absolutely loved it. Comments may ensue tomorrow once I've slept on it.
Posted on 8/24/09 at 10:11 pm to Leauxgan
I saw it over the weekend and really enjoyed it too.
Thought the opening scene with the farmer was a great acting job by the Nazi actor.
Thought the opening scene with the farmer was a great acting job by the Nazi actor.
Posted on 8/24/09 at 10:40 pm to Leauxgan
quote:that's what she said
Comments may ensue tomorrow once I've slept on it.
Posted on 8/25/09 at 6:56 am to Acreboy
Saw the film last night. I've been waiting for this film for a while so my expectations were high. I completely enjoyed the movie but I left the theater wanting to see more of Pitt and the Basterds. However, all the little individual scenes started coming back to me. The opening cabin scene, the bar scene, the dessert scene. The way Tarantino built up the tension during these single moments was unlike anything I've seen before. The dialogue was the action in the movie. It was a great film that rewards the viewer through dialogue and subtleties rather than constant explosions and non-verbal action. Definitely looking forward to seeing this one again.
Posted on 8/25/09 at 8:29 am to novowels
quote:
The way Tarantino built up the tension during these single moments was unlike anything I've seen before.
Hitchcock - “Two sit at a table with a bomb underneath. The bomb goes off – that’s action. The bomb doesn’t go off – that’s suspense.”
I think Tarantino definitely took that quote to heart. Everything was almost perfectly paced, and the entire movie was "pitch perfect." The dialogue was sharp, but not too quirky and attention seeking as it has been in the past.
I especially liked it because of QTs continued allegiance to genre and pulps. The movie seemed storyboarded like a comic book. Although every movie as Act breaks, this one called attention to itself at least 5 times, storylines weaved, stylistically the sets teetered between urbane, pastoral, gritty. Most of the characters were archetypal and hyper-literate. Not to mention the violence, when employed, was about as cringe worthy as you can get.
Was Bradd Pitt in the tux supposed to be an overt reference to Brando in The Godfather or was it just coincidence? The severe underbite with square jaws, lip-hugging mustache, "eye-talian," slicked back hair, white tux...?
This post was edited on 8/25/09 at 8:30 am
Posted on 8/25/09 at 8:34 am to Volvagia
quote:
It is no ....From Dusk till Dawn
You can't be serious about that. And Tarantino didn't direct From Dusk till Dawn, by the way.
This post was edited on 8/25/09 at 8:35 am
Posted on 8/25/09 at 8:57 am to Leauxgan
The movie is so chock full of film references, I can’t see how it’s NOT a reference to Brando.
Having slept on it for a day, I like the movie a lot more than I did upon walking out. The opening scene and the scene in the underground bar are two of the most tense, well-constructed scenes Tarantino has ever made. He is finally using his gift for language to do more than crack jokes about cereal. He is building tension through the use of language.
I had conflicted feelings about the violence in the film (and the way they conflated all Germans to be Nazis – I actually felt bad for the grunt soldier), but I think I’m supposed to. That’s why Tarantino shows us the Germans watching a movie, cheering violence against the Allies. Because we’re watching a movie in which we cheer for violence against Nazis. It’s a nice meta-commentary on Tarantino’s entire body of work. At the end of the day, though, Tarantino is killing cartoons. The German was killing real people.
Having slept on it for a day, I like the movie a lot more than I did upon walking out. The opening scene and the scene in the underground bar are two of the most tense, well-constructed scenes Tarantino has ever made. He is finally using his gift for language to do more than crack jokes about cereal. He is building tension through the use of language.
I had conflicted feelings about the violence in the film (and the way they conflated all Germans to be Nazis – I actually felt bad for the grunt soldier), but I think I’m supposed to. That’s why Tarantino shows us the Germans watching a movie, cheering violence against the Allies. Because we’re watching a movie in which we cheer for violence against Nazis. It’s a nice meta-commentary on Tarantino’s entire body of work. At the end of the day, though, Tarantino is killing cartoons. The German was killing real people.
Posted on 8/25/09 at 10:23 am to Baloo
my favorite part might have been the introduction of Hugo Stiglitz.
Posted on 8/25/09 at 10:34 am to Baloo
All Spoilers
Actually, the Basterds take out everyone but the guy in the restroom fairly easily. They just forgot about Hans or whatever his name wass in the bathroom with a sub-machine gun.
quote:
And how did a bunch of obviously drunk soldiers draw their guns and fire with any sort of accuracy so quickly?
Actually, the Basterds take out everyone but the guy in the restroom fairly easily. They just forgot about Hans or whatever his name wass in the bathroom with a sub-machine gun.
Posted on 8/25/09 at 11:04 am to Baloo
quote:
Having slept on it for a day, I like the movie a lot more than I did upon walking out. The opening scene and the scene in the underground bar are two of the most tense, well-constructed scenes Tarantino has ever made. He is finally using his gift for language to do more than crack jokes about cereal. He is building tension through the use of language.
Good to hear, I was worried for a bit
quote:
I had conflicted feelings about the violence in the film (and the way they conflated all Germans to be Nazis – I actually felt bad for the grunt soldier), but I think I’m supposed to. That’s why Tarantino shows us the Germans watching a movie, cheering violence against the Allies. Because we’re watching a movie in which we cheer for violence against Nazis. It’s a nice meta-commentary on Tarantino’s entire body of work.
Great assessment I didn't even think about.
Posted on 8/25/09 at 11:09 am to Freauxzen
Yeah, i walked out thinking that the most brutal, evil people were not the Nazis but the Basterds. It was all revenge fantasy and the Bear Jew scene was pretty distrubing. It was like ceding the moral high ground... and people CHEERED. I was inwardly horrified (while still admitedlly having a grand ol time... the movie was a blast)
I think the Nation's Pride screening is just the key to the whole film. It's a far more compelx movie than I give it credit for on first glance. Or maybe I'm just trying to rationalize how much I enjoyed watching Hitler get shot in the face. Again and again and again.
I think the Nation's Pride screening is just the key to the whole film. It's a far more compelx movie than I give it credit for on first glance. Or maybe I'm just trying to rationalize how much I enjoyed watching Hitler get shot in the face. Again and again and again.
Posted on 8/25/09 at 11:34 am to Baloo
There was also a olive branch for humanity during the final Shoshanna/Fredrick scene.
Frederick, clearly disturbed by the murderous simulacrum of events taking place on the screen, exits the private mezzanine, an action which Goebbels solemnly understands and respects.
So he then makes his way to projector room, where he has one final moment of whimsical banter (well, to him at least, the audience understands the tension filled irony of his relaxed demeanor).
Although he's a German famous for gunning down hundreds of Americans, I think QT wrote him to try and draw at least some sympathy from his character. He is humble to Shoshanna, not wanting to let his reputation egoistically try and impress her. He makes genuine efforts to connect with her (i.e. becoming angry with Goebbel's translator for spoiling the suprise that he wanted to share with her; his numerous charming, innocently sarcastic attempts at winning her over).
In the end of course he is shot dead. But Shoshanna has some apparent remorse at the end for what she's done, as indicated by her sympathetic gesture toward him before she meets the same fate.
So maybe QT's intentions were to make his character morally ambiguous. He certainly wasn't clearly good or evil. Thus I would contend that he appears to be the most 'human' person in the movie.
Frederick, clearly disturbed by the murderous simulacrum of events taking place on the screen, exits the private mezzanine, an action which Goebbels solemnly understands and respects.
So he then makes his way to projector room, where he has one final moment of whimsical banter (well, to him at least, the audience understands the tension filled irony of his relaxed demeanor).
Although he's a German famous for gunning down hundreds of Americans, I think QT wrote him to try and draw at least some sympathy from his character. He is humble to Shoshanna, not wanting to let his reputation egoistically try and impress her. He makes genuine efforts to connect with her (i.e. becoming angry with Goebbel's translator for spoiling the suprise that he wanted to share with her; his numerous charming, innocently sarcastic attempts at winning her over).
In the end of course he is shot dead. But Shoshanna has some apparent remorse at the end for what she's done, as indicated by her sympathetic gesture toward him before she meets the same fate.
So maybe QT's intentions were to make his character morally ambiguous. He certainly wasn't clearly good or evil. Thus I would contend that he appears to be the most 'human' person in the movie.
This post was edited on 8/25/09 at 11:41 am
Posted on 8/25/09 at 11:52 am to Leauxgan
Frederick is a fascinating character. Because he does take a pretty dark turn at the end, busting down the door of the projection room because Shoshanna “owes” him. Yes, he plays the humble part and tries not to trade in on his fame, but it is clear that he DOES expect special treatment. Then again, why not? He’s not a phony. He is an honest to God war hero. He’s not proud of the killing, as that scene shows, but he is proud to have served the Fatherland.
(Side note – this does not make him a Nazi. Look, all Germans were not Nazis. A majority of Germans weren’t Nazis. And even being a Nazi doesn’t make you evil. Just because you were a racist uber nationalist in 1930-40s Germany, it doesn’t put you on the same moral level as Mengele or Hitler. And the monologue about Jesse Owens – they sorta had a good point. Where does a racist nation, 1940s USA, with the recent history of slavery and a national policy of segregation get off getting on their moral high horse to anyone?)
So he aggressively tries to take Shoshanna, she tells him off, but then she seemingly relents. He goes back to being shy. Is it a game? Or is he genuinely shy? If he just wanted sex, he could have had it from almost anyone, why go through this courting process?
When she kills him, she feels regret. Because she has killed a person. Note she is planning to kill HUNDREDS of people (while laughing at them – great shot). But once she has to personalize the act, it becomes difficult. It’s easy to light a bunch of Nazis on fire. It’s hard to shoot Frederick. There’s a lot going on about the contextual nature of violence. We cheer the Basterds indiscriminately shooting everyone in the threatre, but we feel at least some sympathy for Frederick because we know him as a person.
Just a brilliant job. I think there is so much going on here. This movie is why I love movies.
(Side note – this does not make him a Nazi. Look, all Germans were not Nazis. A majority of Germans weren’t Nazis. And even being a Nazi doesn’t make you evil. Just because you were a racist uber nationalist in 1930-40s Germany, it doesn’t put you on the same moral level as Mengele or Hitler. And the monologue about Jesse Owens – they sorta had a good point. Where does a racist nation, 1940s USA, with the recent history of slavery and a national policy of segregation get off getting on their moral high horse to anyone?)
So he aggressively tries to take Shoshanna, she tells him off, but then she seemingly relents. He goes back to being shy. Is it a game? Or is he genuinely shy? If he just wanted sex, he could have had it from almost anyone, why go through this courting process?
When she kills him, she feels regret. Because she has killed a person. Note she is planning to kill HUNDREDS of people (while laughing at them – great shot). But once she has to personalize the act, it becomes difficult. It’s easy to light a bunch of Nazis on fire. It’s hard to shoot Frederick. There’s a lot going on about the contextual nature of violence. We cheer the Basterds indiscriminately shooting everyone in the threatre, but we feel at least some sympathy for Frederick because we know him as a person.
Just a brilliant job. I think there is so much going on here. This movie is why I love movies.
Posted on 8/25/09 at 12:20 pm to Baloo
I really need to watch this movie again to get a better understanding of everything put into it. i did enjoy it but im lost on some things. such as that underground bar scene, i too was confused as to how everyone but the actress and new father were killed so quickly. Before you knew it, everyone was dead and the shootout was over. I was waiting for it, then it happens and i don't know what exactly took place. Im sure i forgot about hans or whomever went to the bathroom b/c i didn't realize that til i read it on here.
I really enjoyed pitt's character. It's another highly memorable character by him and his marking of the nazi's was just great. Loved how he turned the tables on Landa at the end of the movie and when Landa calls him on it, he just says "Yeah, i'll just get chewed out. I've been chewed out before."
Yes, Landa was a great character, and I was just waiting for him to do something to Shosanna in the restaurant but he let her go again.
I really enjoyed pitt's character. It's another highly memorable character by him and his marking of the nazi's was just great. Loved how he turned the tables on Landa at the end of the movie and when Landa calls him on it, he just says "Yeah, i'll just get chewed out. I've been chewed out before."
Yes, Landa was a great character, and I was just waiting for him to do something to Shosanna in the restaurant but he let her go again.
Posted on 8/25/09 at 12:21 pm to LSUROCKS52
quote:
but he let her go again.
I dont think he knew who she was.........right?
Posted on 8/25/09 at 12:31 pm to ccla
quote:
I dont think he knew who she was.........right?
I am not sure. He certainly plays a sly enough game.
Posted on 8/25/09 at 12:36 pm to Volvagia
I think he suspected but didn't know. Hence the glass of milk. But she didn't tip her hand, and he certainly didn't want to embarrass Goebbels. If he was going to have her shipped off to a camp, it would be later. And quietly.
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