In other words, Tarantino doesn’t craft anything remotely like an action yarn here. Instead, Inglourious Basterds is an almost sedentary, deliberately-paced film about personal warfare, not the international, global variety we’ve come to expect from the WWII film. This isn’t Saving Private Ryan (1998). No beaches are stormed. No wartime platitudes are reinforced.“Looks like the shoe’s on the other foot,” The Powerful and the Powerless in Inglourious Basterds
Some scholars and pundits have suggested that the film is morally facile, a simple revenge picture that makes the American Basterds (Jewish-American soldiers…) as reprehensible as the Nazis they fight in Europe; but that doesn’t seem legitimately the case.
Tarantino’s focus isn’t necessarily on brutal, bloody violence, but on power, and how it feels to be the party without it. The Basterds in the film, as well as a Jewish cinema owner named Shoshanna (Melanie Laurent), exact violent retribution against the Nazis, it is true. But, oddly — in almost every situation — it feels not like eye-for-an-eye Draconian violence, but rather an assertion or re-assertion of self, or self-actualization, if that’s possible.
This is why, I suspect, the film’s fiery final sequence quotes extensively from De Palma’s Carrie (1976) and the famous sequence at the Prom. Both movies concern the victimized pushed too far, taking back the power for themselves in an apocalyptic showdown.
I don’t want to get too far ahead of myself, however. Inglourious Basterds is a film consisting of five separate, even episodic chapters. The first chapter “Once Upon a Time in Nazi-Occupied France” goes a long way towards establishing the feelings of personal powerlessness the Nazis so ruthlessly exploit.
A dairy farmer who is hiding Jewish refugees in his house is visited on his remote farm by Colonel Hans Landa (Christophe Waltz), who is nicknamed “The Jew Hunter.” Landa gains entry to the house, enjoys a glass of milk, switches the conversation from French to English, and then — without even verbally leveling much of a threat — makes the weeping farmer, LaPadite, surrender his hidden wards. The refugees are then brutally shot down, and only 18-year old Shoshanna escapes the massacre.
The conversation between Landa and LaPadite is lengthy. It goes on and on, and Tarantino holds the scene for a duration approaching twenty minutes. The aspect of this scene that makes it work so splendidly (and makes it increasingly suspenseful as it continues…), is the very thing that remains determinedly unspoken: Landa’s total and complete domination of the poor farmer. LaPadite has no options; no recourse; nowhere even to lodge a complaint. He can’t fight, or he will sacrifice his family. He can’t bargain, either. There’s absolutely nothing to be done. Landa comes into his home, is unfailingly polite and courteous…and is completely in control. The Nazi has no need to flex his muscles (or twirl his metaphorical moustache), to assert his authority. His authority simply…goes without saying.
This powerful and frightening idea recurs in Chapter Three, “German Night in Paris.” Shoshanna, now a cinema owner in France hiding under the name Emmanuelle Mimieux (think Yvette Mimieux), unexpectedly meets Nazi sniper and war hero Zoller (Daniel Bruhl). He is starring in Goebbel’s latest propaganda film, Nation’s Pride, and he quickly devises the notion that Shoshanna’s cinema should host the film’s premiere.
Again: she is not asked about this. Her counsel is not sought. She is not given an out so she can politely demure. Instead, she is escorted to a nearby restaurant and introduced to Joseph Goebbels (Sylvester Groth), who also immediately and unquestioningly assumes her total and complete cooperation. Like Landa in Chapter One, the Nazis here are not over-the-top schemers or brutal torturers for us to sneer at. Instead, they are so confident in their total authority that there’s no need for showy demonstrations (as we would no doubt see in lesser films…).
In the most dramatic example of Shoshanna’s utter powerlessness in the face of the Nazi domination, Hans Landa even gets to dictate to the cinema owner when she should eat her strudel. She is about to take a bite, but he has forgotten to order whip cream. “Wait for the cream,” he utters with a wolfish smile.
It isn’t a request. It’s an order.
Thus, in albeit strange fashion, the Nazis in Inglourious Basterds are more frightening than almost any you’ve ever seen depicted before in a movie. They appear courteous and civil, but that’s only because their domination is unchallenged; unquestioned. These men walk the Earth as Gods: every demand met, every order followed, every desire sated.
The eminently just punchline comes in the film’s valedictory scene (and shot). The leader of the Basterds, Aldo Raines (Brad Pitt) has been forced to cede authority to Landa. Landa thinks that — as usual — he is totally in charge. He has become used to his unlimited, unspoken power. And with one powerful, if small act, Raines questions that assumption….with a knife. It’s not just revenge for the sake of revenge; it’s not bloody for the sake of gore. It’s a lesson, actually, in what freedom represents; and the fear that people feel when that freedom is stolen from them. When Aldo carves swastikas on the foreheads of his enemies, he is questioning what the Nazis believe is unquestionable; their total authority and superiority. Aldo does not kill, but he makes the Nazis experience fear — and powerlessness — for the first time.
“We’re going to make a film. Just for the Nazis.” Homage and Tribute in Tarantino’s Film
Inglourious Basterds also proves intriguing in much the same the fashion as Tarantino’s other films. In other words, the movie functions as a dedicated homage to other war films, and as a tribute to the culture of movies itself.
In ways simple (Aldo Raines = Aldo Ray) and ways complex, Tarantino gets in some edgy commentary here about the power of images; about the power of the medium itself.
Even casting is vitally important. For instance, horror director Eli Roth plays the “golem” nicknamed “The Bear Jew,” the Basterd who brandishes a baseball bat against recalcitrant Nazis.
We already associate Roth with scenes of extreme violence and gore thanks to his role directing (the masterpiece…) Hostel (2005), and so the actor’s participation in what promises to be the film’s most violent scene works commendably to the movie’s advantage. Here comes Eli Roth doing what Eli Roth does best…or so we think.
But Inglourious Basterds is a movie about movies in deeper, more meaningful ways too. A propaganda film, like Goebbel’s “Nation’s Pride,” could conceivably galvanize a demoralized nation, we are meant to understand. It could literally turn around the war, and that’s something that can’t be allowed to happen. How Shoshanna subverts Zoller’s film is one of the film’s highlights; especially since her “phantom edit” plays to what is literally a captive audience.
Likewise, a movie critic like Hicox (Michael Fassbender) could conceivably boast the knowledge to make for an effective undercover agent in France, although a hand signal (not entirely unlike “thumbs up” or “thumbs down“) could also doom him.
And finally, as Inglourious Basterds trenchantly reminds us, a film can be an instrument of propaganda or an instrument of justice. Film might even be, literally, a weapon. Film reels double as the bomb that kills Hitler in the film’s denouement.
Inglorious Basterds is not the place to seek historical accuracy; it’s a place to ponder the ways that movies — as propaganda or vehicles of justice/vengeance — can satisfy and offer emotional closure regarding a whole variety of issues. Isn’t it better, really, that a Jewish woman victimized by the Third Reich should bring it down? If we could write our own endings, isn’t this the dramatic, poetic one we’d want? The underdog has her day, and the scales of justice are righted. Since this isn’t real life, why not?
Notice, for instance, that the interior of Shoshanna’s cinema is colored and designed to resemble the palatial interior of Tony Montana’s Miami home in Scarface. There are staircases bracketing both sides of the central hall, with a ledge above — on the second floor — and, finally, a room (in the center of the frame…) leading back to a private domain (office or auditorium).
Both characters also share something else in common: they went from being powerless, to possessing all the power. Only in Tony’s case, he misused and abused that power (through a drug haze). By contrast, our sympathies remain with Shoshanna throughout Inglourious Basterds. She is setting things right (and ending the war…), not committing a cocaine-addled suicide.
Why quote De Palma so extensively here? Well, we know that Carrie is in Tarantino’s top five favorite film list (at least last time I checked). But the images and compositions that recall De Palma are well picked for reasons of theme and recognition too. Both Carrie at the Prom: the victim taking out the victimizers and Tony’s last stand: a staccato suicide by machine gun — embody an important part of our contemporary pop culture lexicon. Carrie is about the effect that cruelty has on a person, even a good person. And Scarface is about power corrupting, absolutely. Shoshanna may be Carrie; and Hitler may be Tony Montana, in some sense..
One of the things that I admire most about Inglourious Basterds is Tarantino’s manner of making the intimate seem epic. This movie is about a big topic indeed (World War II) but it features almost no scenes of battle or any traditional war scenes, for that matter. The film consists mostly of a scene in a farm, in a tavern basement, and, finally, in a cinema. We see no tanks, no infantries on the move, and no impending air strikes.
Inglourious Basterds reveals that Raines has that bravado in spades, but even moreso, that the film’s director does.