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Old January 14 2010, 08:35 PM   #88
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Re: Movies Seen in 2010

Harvey wrote: View Post
A Serious Man [A]

The Coen brothers deliver another movie that's one of the best of the year. I have no idea what to make of the prologue, nor the ending,
I saw the prologue in A Serious Man as an encapsulation of the whole movie. Good luck can be misfortune, you can try to reason out the logic of what happened and understand it - perhaps with recourse to religious beliefs - but you have no idea if that's right or not. Life is a confusing Jewish fable.

The end, well; that continuing escalation of inexplicable events that is the human condition trudges on. All told, though, one of the best damn movies I saw last year.

JacksonArcher wrote: View Post
Sure, but the film does little to give any depth to any of the Basterds. They are caricatures, driven only by their pure and unadulterated hatred for Nazi's and Germans alike.
So is everybody, more or less (I think Daniel Bruehl and Christoph Waltz's characters were the best developed in the film, but that may be due to the actors).

Which is why they are no better than the Nazi's. They gleefully exterminate the Nazi's with as much relish as the Nazi's would exterminate a Jew. So how does that make them better?
Because! They're killing Nazis. The Nazis are killing Jews. It's a hat game. Nazis are evil, it's okay to apply the Nazi's punishment to themselves, and it's okay because precisely they were doing that to Jews. And, again, unlike any other Hollywood film on the subject, at least Inglorious recognizes the unpleasantness of that logic. Indiana Jones just coasts over this stuff with a John Williams soundtrack.

The film also takes the interesting stance of revelling in the violence without overly valorizing the Basterds also - they're stereotypical Americans, all thick accents, incomprehension of European languages, and not so much as a wet eye is expected whenever any of them die in the final cacophony of the movie. Shosanna is similar - she's tightly restrained, cool as hell, but never milked for sympathy. The emotional tone is just so, slick, detached, impersonal, stylish, which allows it to be a gleeful yet conscious revenge fantasy.

Any emotional epiphany of any kind would ruin the film, as it is a cartoon - look also at the British, who are all basically movie war stereotypes and upper crust accents, as divorced from reality as one can be.
'Spock is always right, even when he's wrong. It's the tone of voice, the supernatural reasonability; this is not a man like us; this is a god.'
- Philip K. Dick
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