In just a few days, ‘Inglourious Basterds’, a monumental and irreverent war film by one of the greatest filmmakers, will leave the streaming platform. He takes advantage of these days to get her back.
A wild, irreverent war film that shows love for cinema from all four sides. Only Quentin Tarantino could have made a film like Inglourious Basterds, and only he could also make it be perceived as a work worthy of admiration and rewarded with film awards. That is why his departure from Netflix this coming May 15 is painful, so we must take advantage of these last days where we can enjoy it on the platform.
The director spent ten years taking care of and developing the script for this film as if it were a figure of the baby Jesus. During those previous ten years he was talking great wonders about that script, that he had immense affection for it, that it was a masterpiece that was yet to come, that if he had in mind to honor all the classics of World War II cinema.
Using the English title of That Damn Armored Train by Enzo G. Castellari as a reference, Tarantino created the entire an epic piece in the most classic sense of the word with Inglourious Basterds. The story follows various characters who are shown in different acts in which the film is divided, having on the one hand a young French Jewish woman (Mélanie Laurent) escaping from the executing Nazi generals, on the other a commando of Jewish soldiers led by a rabidly vengeful lieutenant (Brad Pitt), on the other a secret command infiltrated in the German army and finally a ruthless colonel known for his art in murdering Jews (Christoph Waltz).
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At a certain point the film had a provisional name Once Upon a Time in Nazi-Occupied France – a title that would end up finding a place as an introduction to the film – and it is almost more appropriate for the classic and epic story that Tarantino wants to unfold. The filmmaker shapes with fine craftsmanship a film full of character, with an old aroma of spaghetti western in the way of presenting conflicts and characters, and who knows how to measure when it should be wild and when it should create atmosphere.
One of the scenes from ‘Inglourious Basterds’, with Brad Pitt.
It is also one of the filmmaker’s most thoughtful and political films. Not only because of the obvious fact that the Nazis are the heartless villains here, but also because of how he comes up with ideas about how these evil forces and their ideology end up taking root in society through popular culture, propaganda and, finally, the cinema as the intersection of both.
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The entrance of the propaganda films promoted by Joseph Goebbels, or a discussion in a bar about King Kong as a representation of slavery are some of the moments where Tarantino is more thoughtful about art, at least until his later Once Upon a Time. ..Hollywood. Therefore, it makes sense that he decides to rewrite history so that the most crucial moment takes place in a movie theater, in the possession of the Jewish fugitive from the beginning of the film, and that the moment where all the plots intersect takes place at the rhythm of an anachronistic song David Bowie who was created for panther’s kissfrom paul schrader.
Even though its structure can be made somewhat uphill, and not all acts work the same, we are here before another great film from one of the greatest filmmakers, keeping his wild essence while making a cinema of classic ambitions.
A unique mix that found the applause of critics, the public and the industry, pocketing several nominations and awards, including an Oscar for the performance of Christoph Waltz. It was the only victory of his eight nominations, but the feeling remained that Tarantino had done a great job.
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