Tarantino of late seems to fancy himself the world’s slickest genre director, putting his unique stamp on the trashy fare he loves and giving it a professional sheen, as he did with the two “Kill Bill” movies.
Many have called the film “Tarantino’s World War II movie,” but that only scratches the surface. It would be more descriptive to call it “Tarantino’s zany revenge fantasy by way of historical fiction.”
Like many of Tarantino’s films, the movie follows several plot threads that intertwine. One involves a Jewish woman and movie theater owner (Melanie Laurent), who concocts a fantastic plot against the Nazis after they murder her family. Another involves a bloodthirsty band of Jewish troops led by Lt. Aldo Raine (Brad Pitt) who call themselves the Basterds. They delight in literally scalping Nazis and branding the survivors with a swastika. A third involves an espionage scheme involving a German actress/turncoat (Diane Kruger).
With “Inglourious Basterds,” Tarantino rebounds somewhat, even if he doesn’t reach the heights of his greatest work. The best parts of this movie are as good as anything he has ever shot. However, those are undermined by distracting, frustrating flaws.
The cast is outstanding, with the best performances coming from the unknowns. Laurent ought to become a star based on her outstanding work as the vengeful cinema owner, and Christoph Waltz makes a magnetically diabolical villain.
Brad Pitt is lead billed, but he’s really a key supporting player. He fearlessly goofs on his part, chewing the scenery and drawling every line with a hick accent (he pronounces “Nazis” like “gnat-zees.”)
Even with strong characters like these, what’s missing from “Basterds” is a thread that links the disparate sections.” While individual scenes were strong, I felt the movie didn’t let me invest in any one character long enough to give me an emotional connection from beginning to end.
The other flaw, strangely enough, is the music, at which Tarantino usually excels. The soundtrack is an eclectic grab bag of sounds and genres, but this time, the anachronisms kept taking me out of the story. The sound is too similar to that of “Kill Bill.”
What redeems “Basterds,” besides the cast, is Tarantino’s strong visual sense. The movie, shot by the great cinematographer Robert Richardson, looks fantastic, and the pacing is exemplary, with many a suspenseful scene. The fiery ending gives the lie to that old Klingon proverb that “revenge is a dish best served cold.”
Ultimately, Tarantino may not be as original as he once was, but at the very least, “Inglourious Basterds” proves he hasn’t lost his knack for delirious showmanship.
CONTACT this reporter at (513) 705-2836 or erobinette@coxohio.com.
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