Inglorious Basterds Gets Violent
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Dana, I have an Inglorious Basterd’s question for you. I saw the movie over the weekend and I loved it—it’s not perfect, by any stretch, but, damn, it was fun—and, unlike you, it didn’t leave me feeling a bit queasy. In your review, your major critique of the film was that Quentin Tarantino, again and again, “unproblematically offers up sadistic voyeurism as a satisfying form of payback.” Certainly, there are many scenes where this is the case (and if I wasn’t quietly sickened by the Nazi getting beaten to death with a baseball bat, I absolutely hid my eyes), but I thought there was at least one scene in which Tarantino served up his violence very problematically.
I’m talking about the scene (slight spoiler alert!) that takes place towards the end of the movie when the German high command, including Hitler, Goebbels, Goring, and 350 of their closest friends, are watching a propaganda film about a “heroic” German sharp shooter picking off Allied soldiers. The Nazi crowd is having a blast, hooting, hollering, clapping and laughing every time the shooter takes down another easy target. Hitler—sweaty, chubby, deranged—is having the most fun of all. They’re disgusting.
Tarantino then cuts to two of the Basterds, our heroes, out in the hall, disguising themselves as waiters and strapping guns to their hands. They leave the restroom, walk down the hall, pause outside Hitler’s balcony, and, suddenly, leap, while punching, onto the two Nazis guarding the door, killing them instantly. It’s hugely badass. The audience I was with went wild.
And then Tarantino cuts back to the theater, where all the Germans are still hooping and hollering at what, to them, is some totally badass cinematic violence. There are the Nazis, all worked up and digging gratuitous death—and here are we, doing the exact same thing. So, here’s my question(s): Is that a meaningless cut? Or, rather, a judgment-free one? Or is it possible that Tarantino, the long-uncritical lover of beautiful, kinetic bloodspatter, finally has some critiques?
Image is a screenshot from the Inglourious Basterds trailer, courtesy of Universal Pictues.
Willa Paskin Writer, pop culture junkie
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Reminiscent of a scene from Boogie Nights and directors comments
By: WSLers | Mon, 08/24/2009 - 11:45
It's the scene where William H Macy comes to the New Years Eve party sees his wife having sex with yet another guy, walks outside to his car, gets and loads a handgun, walks back inside to the bedroom, shoots his wife and the guy screwing her, then walks into the middle of the party, smiles puts the barrel of the gun in his mouth and pulls the trigger. In the directors commentary Paul Thomas Anderson talks about being at a test screening for the film near UCLA with a lot of college students in the audience, and how they all cheered wildly when they saw Macy get the gun and cheered even more wildly and loudly when Macy shot his wife and the other guy, but when Macy shot himself they all shut up. Anderson relates that when the audience started cheering he started sinking down in his his seat, thinking to himself, "What have I done? I am so f***ed." And sinkeing even further when the cheering got louder when Macy sdhot his wife, but when he shot himself and the cheering stopped, Anderson sat back up and said to himself, "Yeah, F*** you for cheering."
It appeared purposeful to me
By: rose555 | Mon, 08/24/2009 - 10:47
Willa, I absolutely noticed this as well, and I can't imagine it was an accident. Tarantino is aware of how people often react to his films, he is aware of the degree to which viewers celebrate the gore, particularly when it is heaped up someone who deserves it. He must have known he was creating a film that would inevitably result in a theater full of people vengefully cheering on the violent deaths of a theater full of people vengefully cheering on the violent deaths of others.
There was another moment from that theater death scene that struck me. [Spoiler alert] As the Nazis attempt to flee the burning theater, they find the doors locked and it becomes a mob of bodies falling over each other in a futile attempt to stay alive. This was obvious Holocaust imagery to me. It was impossible for me to keep the comparison out of my mind, given the subject matter of the film. I don't for a second think Tarantino was equating the Nazis with Jews, or the fictional events in that theater with the real and horrible reality of the Holocaust. But he did seem to be saying something about humans and genocide and revenge. If he was, it's a turn towards more meaningful filmmaking for him, and a welcome one for this particular moviegoer.