Inglourious Basterds: A New Take on History

Inglourious Basterds: A new take on history

Continuing to push the boundaries of contemporary cinema, Quentin Tarantino's Inglourious Basterds helps to redefine an era and rewrites history in the process. Tarantino's extensive knowledge of cinema and music drive his stories, rewriting history, and redefining cinema. Tarantino's postmodern approach to cinema is evident in many of his films, and his writing and filmmaking approach and style have cemented his place in Hollywood history. Inglourious Basterds is a welcome addition to Tarantino's repertoire and continuing to redefine a latent industry content on remaking successful foreign films and producing films devoid of artistic substance.

Inglourious Basterds is a modern day spaghetti western set in Nazi occupied France and relates the story of the "Inglourious Basterds" and their quest to kill as many Nazis in the most unconventional manner, as well as, Shosanna Dreyfus's quest to avenge her family. An all-star cast helps Tarantino to tell his story. In true Tarantino fashion, an all-star cast features many actors that have collaborated with Tarantino on previous projects including Brad Pitt, Eli Roth, Julie Dreyfus, and Harvey Keitel and Samuel L. Jackson providing voice-overs.

Tarantino's use of chapters to establish storylines and character backgrounds is utilized to introduce Shosanna and "Jew Hunter" Col. Hans Landa, the Inglourious Basterds led by First Lieutenant Aldo Raine and their mission, Shosanna, now known as Emmanuelle's, chance encounter with Pvt. Frederick Zoller which subsequently allows her to hatch her plan for revenge, and the final chapter in which the Basterds formulate their plan to kill Hitler and his high commanding officers.

Artistic freedoms are taken with the subject matter presented, often through the use of improbable and uncanny references. For example, references are made to Sherlock Holmes in reference to Nazi Col. Hans Landa's knack for finding people; Tarantino even goes as far as having Landa smoke from a Calabash Meerschaum, the same pipe Holmes used ("Inglourious Basterds"). Hans Landa is also able to pervert the innocence of fairy tales, more particularly "Cinderella," as he utilizes a shoe that was left behind at a shootout to expose, and subsequently kill, the double agent Bridget von Hammersmark (Tarantino). Historic freedom is also taken as Tarantino presents the violent assassination of Hitler and many of his commanding officers at the end of the film.

Music is a driving force behind much of the film, Tarantino foregoing any usage of contemporary music. Instead, Tarantino employs the musical styling's of Ennio Morricone who famously scored many spaghetti westerns, David Bowie, and Billy Preston, among others. It is the use of Morricone's music that establishes Inglourious Basterds as a modern spaghetti western, highlighting the twist and turns within the film. The use of modern music does not take away from the story, but helps to promote the stories being told, a rare marriage between past and present.

As in many of his previous works, Tarantino pays homage to actors and directors whom he admires. Among them are composer Ennio Morricone, Mexican B-movie actor Hugo Stiglitz, and filmmakers Enzo G. Castellari, Antonio Margheriti, and Edgar G. Ulmer. Signature Tarantino shots present in many of his previous films are once again employed; a close up shot of bare feet, a long shot, in this case, of Shosanna descending the stairs at the Nation's Pride premiere, a Mexican stand-off, and a low angle shot from a trunk of engine compartment ("Inglourious Basterds"). Tarantino also makes a cameo in the film as a scalped Nazi soldier and as a soldier in Nation's Pride, the film premiered at the end of Inglourious Basterds.

Tarantino's mission is not to present a historically accurate film, but rather one that satisfies a subconscious desire to present events in a manner that satisfies individual desires. For example, the overtly violent killing of Hitler, Goebbels, and a barricaded cinema filled with high-powered Nazi officials is historically inaccurate, but satisfies our desire to destroy a man and regime that led to the destruction of so many people. Instead, focuse is shifted to the individual who seeks to find an end to the madness and destruction of the time. While multiple approaches are taken, their collective aim is the same, "Down with Hitler. All the way down" (Tarantino).