Inglourious Basterds – 2009
**** Out of ****
It is a peculiar thing when you love all the films made by a single director, for what does it really attest? Is it an indication of skill on the part of the filmmaker, because many agree that with the exception of a few directors, skill is subjective. Such admiration can also be born from your individual personality, tastes and what you find an enjoyable movie experience. If that director keeps making films in that vein, then you will tend to see an impressive filmography. I tend to believe my continued admiration for writer/director Quentin Tarantino is a mixture of all elements, but what I am certain of is his new pulp war-epic Inglourious Basterds is one of his absolute best.
Known for his supremely ingenious dialogue which often culminates in tense scenes even when the violence is sporadic, Tarantino more then ever before has placed that dialogue in the mouths of a superb cast. Not since Pulp Fiction has a cast been so perfectly assembled, and Tarantino’s choice to cast a great spread of international talent pays off in spades. In movies of this ilk we also normally have at least one scene stealing performance. In Inglourious Basterds we have not one but dozens. Every performer steals every scene and the result is a continuum of mesmerizing humour, wit and evil.
Of course saying everyone is absolutely equal would be asinine, as the movie does stand higher yet due to the existence of two very different roles. The first is that of Brad Pitt as Lt. Aldo Raine, who contrary to what many believe is not the lead. In fact, I would say there is no lead as this film is very much an ensemble piece. The second outstanding role is by Christoph Waltz as SS Col. Hans Landa who is marvellous in his psychotically deranged role. Other standouts include Mélanie Laurent as a Jew on the run, Diane Kruger as a double agent and Til Schweiger as a brutal member of the Basterds. All those involved get ample opportunity to bring their creation to life and together they weave a brilliant alternate reality, WWII western.
Segmented into acts, Inglorious Basterds follows two distinct story lines until they culminate in a fiery finale as only Tarantino can deliver. On one side of the road we have Lt. Raine’s band of scalp-hungry Jews slaughtering their way across Nazi occupied
The most compelling aspect of Inglorious Basterds is the character arc of Waltz’s Landa and how he helps shape the story that ultimately unfolds. He will no doubt be a prime candidate for an Oscar and as a friend knowledgeable on the man exclaimed to me, presents a scarily bang-on performance to the real Landa. Pitt is fantastic as the cowboy Nazi scalper and is at time so funny you forget it is the A-list actor you are watching. It is certainly the performance of his career and Oscar gold also glistens in his future. Tarantino’s subtle nods to German film history (amongst his own history that is) is incredible rewarding as well; no other filmmaker would dare provide this specific alternate destiny for acting legend Emil Jannings. While not an action movie as some may presume, Basterds provides more excitement and tension then any $100 million summer blockbuster. If trends are destined to continue, it would seem that Tarantino can do no wrong, and has done no wrong with this instantly quintessential WWII classic.
