Once every blue-moon, a figure will enter upon the public consciousness and leave an indelible mark. If being from humble origins, said gentleman can then capture interest by embodying a prev'lent dream of success and elevation, shared by all white, land-owning Christian men.
The moving-picture business embodies such a philosophy in this day and age, and in-doubtably will live on markedly into the future along with such ageless inno-vations such as the Model T Ford, the steam engine, and Radio programmes. The gentleman director of the picture "Inglourious Basterds" represents a fellow which embodies such a dream.
From common beginnings as a foto-graf shoppe attendant, Quentin Tarantino made his mark with "Gutter Hounds", concerning a madcap troupe of flim-flammers and a caper gone sadly awry. Since then he has produced several pictures all to the acclaim of esteemed gentlemen of the noblest profession, your humble picture reviewer. With this "Inglourious Basterds" he has succeeded in the difficult challenge of both keenly impressing myself and deeply offending Misters Mirriam and Webster.
This is a war picture, attempting to recount several stories which run along side each oth'r and meet up in the end. The firstly tale to which we are introduced concerns a Jewess called "Shosanna". As a young lass she manages to evade an ambush on her French farm cottage by a hair's breadth. Fronted by German military officers of the second reich, they operated under the guide of the frighteningly fiendish, yet considerably charismatic Colonel Hans Landa. Being that her family is dispatched by the Germans, she escapes to Paris where she matures and comes to own a picture theatre due to the remarkable fact that women are allowed to own land in France.
Alternately, a second story unfolds concurrently. The picture's title being as it were, suggests the exploits of a group of American bred Hebrew gentlemen under the nome-de-plum of the 'Basterds'. Led by Bradley Von Pitt playing as "Aldo the Apache", these chaps mercilessly hunt, kill and scalp German military troupes in the manner of a barbaric injun, as his guise implies. The dyad tales weave together at such a point in which we learn that thru fortune and circumstance, both the Shosanna and Basterd parties gain the opportunity to bring about the demise of the unfortunately mustachio'd German military leader, the fictional "Adolf Hitler".
The pictures cuts betwixt the stories at varying paces, however from the very first scene to the explos've crescendo, Tarantino masterfully builds the tension. I can not recall having such a fit of anxiety since "Arrival of a Train at La Ciotat ".
The director is as well known for his signature dialogue and representations of bloodshed and brawling in picture shows, and this does not disappoint. Many players deliver performances of note, most commendably the German Christoph Waltz as Col. Landa. I submit that were there some sort of fancy accolade or recognition for acting ability in pictures, Herr Waltz would be in strict contention.
From its portrayal of a "what might be" scenario to its power-full fits of humour and horror, this picture gives to us an experience that is likely to haunt you well beyond it's viewing. Certainly a tad sluggish at times and incendiary at others, 'Basterds' fosters a world that feels intrinsic and fully formed, and yet executes clever breaks in form with stray flashes and indiscriminate narration. Men scheme and women con; Basterds butcher and Bear-Jews bludgeon; Victims die and kill and Murderers kill and die and in the end we all marvel at a master and his craft. Or, I imagine I would have if it's length had not run into my supper-time.
5 of 5 Top Hats