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Old January 14 2010, 08:30 PM   #87
Out Of My Vulcan Mind
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Re: Movies Seen in 2010

JacksonArcher wrote: View Post
Also, in regards to my thoughts on Inglourious Basterds: This is going to sound preachy but I had a problem with a movie that so gleefully plunged into the depths of violence without any regard whatsoever to the ethical consequences. Yes, I understand Inglourious Basterds was a revenge fantasy, but I couldn't help but cringe and question the existence of such a film that would promote violence in such a one-sided fashion. It seemed oddly masochistic. Inglourious Basterds, anyway, deals with a tragic aspect of history. Yes, I can take away that it is a film, with a fictionalized take on historical events. Regardless, by mercilessly killing the Nazi's, it makes the Basterds no more better than the individuals they swore to exterminate (i.e., the Nazi's).
It's a provocative film and it draws strong reactions and provides good fodder for debate. Bear in mind that the film, as with much of Tarantino's work, is metatextual. It's not just a revenge fantasy within the framework of the story, but an assault aimed at shredding the mystique of Nazi imagery.

Film critic Kim Morgan (an interesting writer who really should have a higher profile) named the film as one of the best of 2009 and wrote the following:

Though critics either praise or denigrate Quentin Tarantino’s obsessive, swirling with references motion picture amour as the core to his pictures -- their very pulsating, battered and bloody heart, it’s not that simple. Truly. Even as he amped up the references fifty fold by Kill Bill, a stunning mélange of spaghetti western, giallo, Kung Fu and more, something had shifted by the naughts for the controversial auteur, something deeper, something more personal. Death Proof aside, nearly gone were the Royale With Cheese speeches, or the Buddy Holly waiters, and in came a kind of filmmaking that sat on the precipice of mad hatter movie love insanity, making the director even more culturally significant, artistic, and surprisingly, powerfully mysterious. Inglourious Basterds is the crowning achievement for QT’s newer phase, a World War II picture that’s a gorgeous, hilarious, uber-violent, brilliantly acted (Christoph Waltz is a revelation), genre-blending gut puncher, that, indeed, scalps a whole lot of “Gnatzies” (as Brad Pitt's hillbilly Aldo Raine memorably intones), but also shunts the viewer into the German film industry under Goebbels and the struggles of an escaped French Jewish woman (Mélanie Laurent) who survives by, naturally, running an independent movie theater. Basterds may have angered those who found QT’s fantastical revisionism offensive, but really, he was being honest. You want pulpy Nazi hunting set to the music from “White Lightning?” You got it. You want to feel the complexity of how we process that violence? You got that as well. Historical, personal, empathetic, vigilant, erotic (yes, erotic, never for one second does QT think we’re not gonna get our rocks off here), Basterds is an aesthetic and thematic wonder. Filmmaking that doesn’t just break the rules by daring to be old fashioned and modern all at once, but filmmaking from another dimension. A work of visceral, violent, voluptuous beauty, QT roared and he rampaged, and we left the theater like Beatrix Kiddo: with “bloody satisfaction.”
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