Inglourious Basterds

The much anticipated new Tarantino film depicts a group of 8 Jewish soldiers going undercover in Nazi occupied France to disrupt the Third Reich and wreak as much havoc as possible. The Tarantino-esque intersecting storylines eliminates the monotony or potential stale plot development, and the segmented "chapter" format is once again used, proving to be his bread and butter.

It is uncharted territory for Tarantino, as the majority of the film is subtitled with the dialogue in either German or French. The feel however, is familiar. Long, drawn out scenes with clever if not innocuous dialogue that produces many uncomfortable laughs due to the building tension of the story and the almost absurd interactions. It is this that makes it a Tarantino film. People wouldn't discuss such things for minutes at a time, but there is a compelling aspect to it that can't be denied.

At an impressive 2 hours and 30 minutes, it is quite the tale. Tarantino adds to his mystique and reputation as writer and director, but there is much less innovative cinematic delivery as there is a fantasy parallel universe revenge story. It is a lingering theme, I mean, who hasn't fantasized about killing Nazis indiscriminately and without mercy? He has the clout to do just about anything he wants, and as writer and director, it is admirable that he has tackled such diverse subject matter, as well as actors.

The cast is mostly German, but has Brad Pitt, Mike Myers and Diane Kruger as the star power. I must admit, I am a huge Pitt fan, but he started this film out weakly. His character grew on me however, and by the end, I was on board and could see and appreciate what he had created. He was a hardcore Tennessee Lieutenant with battle scars and a country bumpkin drawl that overshadowed his true grit. Mike Myers had a small cameo and played a British General with a bit of sardonic flair. Kruger was in her element as a German movie star, but blended with the rest of the foreign cast mostly unremarkably.

The Americans were mostly unimpressive save a few well-timed lines, and some great background noise to the more compelling story. The credit goes to Tarantino however as any Jewish-looking black-haired actor would have shined in the American roles, and he chose a bunch of regular Joes, including his friend, director Eli Roth, who shouldn't quit his day job.

The real stars of the film in my eyes were two of the German stars; the evil Colonel Landa who gained the moniker "Jew Hunter" but had a personable element to his demeanor that was disarming and endearing. He is truly deserving of all of the acclaim he is receiving, and I wouldn't be surprised to see him end up with a Supporting Actor nomination at year's end. He somehow makes an SS officer into a likable yet feared man. Not physically imposing in any way, he psychologically assumes the aura of authority and conveys the passion for his job which is the attempted genocide of a race of people, yet can be somehow accepted by audiences. That is one of the most difficult roles possible, but he pulled it off brilliantly. The other standout in my humble opinion is Til Schweiger, who is recognizable in films such as Driven, Tomb Raider II, King Arthur, and a plethora of German films. He plays the Nazi traitor who joins the Basterds. It is a subtle role, but extremely effective. Not much dialogue, but the glares and body language is daunting in its efficacy.

In typical fashion, the film is broken into chapters that set up the big finale, and in this case, it does not disappoint. The tension builds throughout the whole movie, and how could it not? It is about the atrocities of WWII and focuses on the battle against the Nazis from inside occupied territory. Full of espionage, double crossing and secret identities, it is a great escape into a fantasy world, but instead of happy endings, it is a more realistic fantasy that still delivers a satisfying feeling at the end.

It is a classic story of good and evil, and in this case the evil is the ultimate 20th century villain which makes it almost too easy. Tarantino makes it very personal however, as he always does, and presents the uncomfortable subject in a unique and awe-inspiring way. The build up to the climax is a little slow, but as it nears, there is a real sense of tension and anticipation. He delivers it in a way that is not contrived or formulaic, but rather goes off on its own path and satisfies in the way that only a Tarantino movie can.

I can't say enough about how the credit belongs to the writer and director for composing what can only be called a successful symphony of cinema. Tarantino is a revolutionary who has carved a niche in the film industry and will never see an equal. He is different and unorthodox, but he is proud of that. He takes personal past obscure film experiences that have left an impression on him and modernizes them with a twist without disgracing or diminishing their impact. It is truly original and regardless of the content of the film, he has to be respected for his sheer confidence and visionary creations.

This is the resurgence of Quentin Tarantino after relative disappointments Kill Bill Vol. 1 and 2 and Death Proof of the wildly entertaining Grindhouse which in this critic's opinion was heavily weighted in Robert Rodriguez's favor. This is easily his best film since Pulp Fiction, and it puts him back on the map as the most innovative and anti-establishmentarian director in the game. I have always respected and looked forward to his work, but after this, I have a renewed sense of faith in his films and future potential. 8/10.