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Tarantino’s Approach to the Notorious Nazi Past
Combining almost irreconcilable art forms, techniques, and styles, thereby introducing the audience to a whole new side of story and style, seems to be the hallmark of truly great films. Quentin Tarantino’s Inglourious Basterds is such a film, but it tries not to stand out by not taking the moral high ground of most World War II movies, by being crude in its curves and lacking in certain areas of polish. Director Tarantino’s script for Infamous Bastards, written by himself, has been developed over many years, allowing him to polish every detail and develop the unusual story to the extent of what is said on screen. It came out naturally, as if the original screenplay didn’t exist at all. This unique writing technique allowed the actors to take their characters in any direction they wanted, but still stay true to who they were before filming began. This set Tarantino apart from other screenwriters, allowing studio executives to intervene only when the entire project was ready for market, allowing him to do whatever he set out to do creatively in the first place. . But let’s take a closer look at this movie.
On the level of the film’s message, Tarantino’s gentle bastards confront the audience with some very serious taboo issues. Let’s name some of them. The first issue can be formulated as the following question: Should high-ranking officers of the conquered army who have committed massive war crimes against civilians be allowed to arrange conditional surrenders (legal and safe rat channels), or should they be permanently rat-branded? Whose victory would they sign? Tarantino’s bad Jewish boys prefer to have a Nazi cross tattooed on their forehead with a knife. The second issue can also be posed in the form of a question: Since justice is rare and the victims of World War II (first of all the Jews) cannot fully compensate for their damages, should the victims be allowed to seek their own revenge? as? Tarantino’s bad boys get scalped like Apaches, and the film’s music supports this association by referencing and mixing up the music of brutal spaghetti westerns composed by Ennio Morricone. A third problem is the postmodernist, playful, pseudo-historical reconstruction of the end of World War II. Here, Tarantino teases us with the fictional possibility of ending the war by killing Hitler, Goebbels, Bormann, and Goering in the cinema (“all the rotten eggs in one basket”). After many failed attempts on Hitler’s life, was “The Artist” himself killed by moving pictures in a Paris cinema? No one had come up with such an idea before Tarantino. The fourth issue is German racism against Jews and blacks, which is a really good topic when considering some of the real resurgence of the neo-Nazi subculture around the world. The fifth issue is the brilliant, intelligent, eloquent, charismatic, well-mannered mass murderer in the form of SS-Colonel Hans Landa, who stood in for the notorious Nazi monsters who escaped justice. (e.g., Mengele), becoming a caricature, finally “bingo!” right – but under rather strange circumstances. In addition, Hans Landa seems to be a cross between the manipulative man who lives at 221B Baker Street and Francis Urquhart, the ruthless politician from Michael Dobbs’ bestselling novel House of Cards. What’s more, the rest of the cast brilliantly portrays many stereotypical characters that could have walked away from any Sergio Leone film set, even The Dirty Dozen, Where Eagles Dare, and The Eagles Are. Landed” and so on.
Furthermore, Tarantino seems to have made a film close to the theatrical quality in some physically unstable scenes (for example, sitting at the table), which is aimed at developing the overall dynamic of the performance speech mind (determining who will survive – depending on the accent). verbal and non-verbal mistakes in the mother tongue and foreign language, and depending on the individual’s fate and destiny, depending on the ability to destroy his traces before leaving important places) to shoot the final fatal gun. Somehow, here we have a five-part film of a semi-disparate, well-known drama: 1) an exposition of the extermination of the Jewish Dreyfus family in “Nazi-occupied France”; 2) the introduction of the Jewish Avengers in “Mad Bastards”, 3) the tension in “German Night in Paris”, 4) the dramatic peripeteia in “Operation Film”, and finally 5) the defeat of the Nazis in “Revenge of the Giants”. Face “. Tarantino’s film, on the other hand, is also a film about films. It is about conflicting films: Hollywood vs. the UFA film industry of the Third Reich, Selznick vs. Goebbels. It is a film about film critics and their books.
Nazi war hero films (such as Pride of the Nation) stand in contrast to the Jewish expressionist films of the Weimar Republic of the 1920s. Tarantino deliberately used the chiaroscuro method of Expressionist film poetry. The allusion to the evil Jewish boy, called “Bear Jew” or “Golem,” is part of this intertextual play in the film. Pabst is mentioned, and Emil Jannings presents himself as a screenplay character. Leni Riefenstahl, Max Linder, King Kong and Chaplin’s The Kid are part of Tarantino’s filmography. Shoshana Dreyfus, the only surviving member of a Jewish family, took on the role of Daniel Darry, an actor who allegedly worked and collaborated with the Nazis as the owner of a cinema that would host German nights under the name Emmanuel Mimiech. Furthermore, Tarantino’s film is an indirect reference to hate films such as The Eternal Jew (Fritz Hippler, 1940), which became part of the subconscious even in France: Perrier Lapadit Hans Landa’s history of rats bringing disease and disaster (meaning the Jews) the Dreyfus family only after speaking. After Landa’s brainwashing, the Jews’ savior becomes their traitor, quietly showing him his location in the cellar, albeit in tears. It’s also a film about cutting films and changing them into new embedded, subversive film sequences. Film material itself (nitrate film) ultimately becomes the most important tool to destroy the total Nazi leadership.
Finally, let’s look at the reception of the film. A common feature of the early reviews of the film was that everyone praised Austrian-born actor Christoph Waltz’s brilliant performance, his brilliant portrayal of the talented Hans Landa, and the outward revelation of his mysterious anonymity. world. However, this is hardly true. He was virtually unknown in the English-speaking world, so he was almost never seen in action. Most of his roles were in German TV movies, but Anonymous certainly wasn’t. In fact, people might be surprised that Pitt was considered as great an actor in his early days as he was declared to be the “next generation/’ Robert Redford.
But there is one big difference between the two. Christoph Waltz is a classical actor, in a sense he studied acting at the Max Reinhardt College of Drama in Vienna and the Lee Strasberg Theater Institute in New York (Lee Strasberg, who taught Al Pacino, Robert De Niro, Dustin Hoffman and many others). 80’s and 90’s actors and actresses art of technique!) So Waltz is a classically trained actor, so the craft techniques he so diligently pleads for throughout this film are certainly more expansive. Pitt, on the other hand, has evolved as an actor, embodying the tenacity and charisma of a young Frank Sinatra, a role he played heroically in Soderbergh’s remake of Ocean’s 11 . The two actors meet in an environment designed not to act as a catalyst for conflict, to elicit a reaction or appease, but to provoke and embellish a reaction, to sharpen the senses, and to bring out the hidden qualities of both worlds. Given the film’s special focus on each other, it’s no surprise that Waltz won the Oscar for Best Supporting Actor, becoming only the second Austrian to win the award, after Emil Jannings. He will surely go down in history as the man who breathed one of the smartest yet terrifying antagonists in the history of modern cinema, along with Hopkins’ Hannibal Lecter or Perkins’ Norman Bates of Psycho .
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