+++ Opinion +++
Quentin Tarantino is a fascinating paradox: the violent filmmaker with a weakness for excessive dialogue has a distinctive handwriting. Nevertheless, his filmography is surprisingly varied. No wonder, then, that there is no longer “the one consensus top film” in Tarantino’s oeuvre, but that opinions as to what his best work is are becoming more and more scattered.
As far as I’m concerned, one Tarantino film clearly reigns supreme: “Inglourious Basterds”, which can be seen tonight from 11.35 p.m. on ZDFneo – uncut and of course without commercial breaks. If you also want to do without the synchro, which is really useful with this film, you can meanwhile fall back on the DVD or Blu-ray.
» “Inglourious Basterds” on Amazon*
The trailers proclaimed it, but it’s more than a slogan: You didn’t see war until you saw it through the eyes of Tarantino. The Oscar winner outlines the Second World War in five chapters in which three stories intersect. It’s about the eloquent SS-Standartenfuhrer Hans Landa (Christoph Waltz), the Jewess Shoshanna (Mélanie Laurent) who is out for revenge and the inglorious group of soldiers around Lieutenant Aldo Raine (Brad Pitt)…
As varied as the opinions about Tarantino are, there should be a consensus that he is an exceptional talent. Therefore, there is not a single Tarantino directing at DashFUN that has received less than four out of five stars. However, the fact that “Inglourious Basterds” ranks in the lower half of the internal editorial ranking is beyond my imagination. In my mind there is no doubt that Tarantino has never been stronger than in his riff on war movies.
Just the dialogues! The fact that a word acrobat like him not only juggles his own language, but also completes a freestyle multilingualism, is a cinematic gift. Especially since eloquence and linguistic talent in “Inglourious Basterds” are deeply anchored in the film’s plot and subject matter. Then Contrary to his gangster film roots and violent cinema passion, Tarantino approaches World War II via backroom politics, ambiguous interrogation situations, undercover missions and pretense.
The ability to acquire other identities, foreign languages and language styles (of a verbal and non-verbal nature) is a matter of life and death. One dramatic drop, which Tarantino does justice to with captivating, astute and witty dialogues and monologues. A drop that Tarantino visually reinforces: together with camera legend Robert Richardson (“Aviator”), the director takes his penchant for cinematic cross-references and combines them seamlessly with a more serious imagery.
Nevertheless, Tarantino’s staged playfulness is not lost: “Inglourious Basterds” does justice to its responsibility towards history through more solid imagery – even more than huge sums of kitschy historical dramas. Still, interspersed quirks like pithy overlay logos or lectures on the nature of film material indicate that we’re in Tarantino’s mind. In a mind game about WWII, not in a re-enactment.
Costume designer Anna B. Sheppard accordingly cheats historically inaccurate designs under the expressive, historically accurate wardrobe. It gives subtle signals that this not an everyday World War film is. Rather a quirky exploration of history and stories about history. A confrontation that the unconventional filmmaker tells in five chapters. In five chapters, all of which are so grippingly structured that they could be performed as a grandiose one-act play. But in succession they increase their impact tonally and thematically.
This is not only Tarantino’s best performance, but also inspires his cast. Brad Pitt excels as a rumpled US Lieutenantwho phrases his speeches with relish and appears just as cool as shit and uncultivated. Christoph Waltz experiences the high point of his career in “Inglourious Basterds”., conveying the talkative, well-read manner of the nefarious Nazi Hans Landa with seductively jovial charm. At the same time, he never makes you forget Landa’s dangerousness, sleazy, manipulative manner and weasel-like opportunism.
However, Mélanie Laurent is far too rarely sufficiently praised for her achievements. In doing so, she bestowed a career best on “Inglourious Basterds” as did Tarantino and Waltz. As Shoshanna, she is the beating heart of the film: it is Laurent’s irrepressible fear and immense desperation, as well as her seething anger deep inside her, that set this world war tale in motion both narratively and emotionally.
Laurent plays a role within a role for much of the film, since the pursued Shoshanna has to pretend to protect herself. In doing so, she expresses both levels of her role with the smallest mimic and gestural means. She thus allows us to share in Shoshanna’s adaptability and ingenuity, with which she surpasses the rest of the characters in the film. Strengths from which, due to the circumstances, no shine can be won. Instead, they represent dire necessity.
As such, Shoshanna’s quest for vengeance becomes a thorny, personal quest. To a mission with which she projects her innermost drive to the outside world just as justified as it is explosive, dramatic as it is powerful. It couldn’t be more consistent that she uses the language of cinema.
*The links to the Amazon offer are so-called affiliate links. If you make a purchase through these links, we will receive a commission.
