Pure nonsense! This is tampering with history! If someone cites history while pointing out so outrageously, then he actually says nothing about this movie. Obviously, this movie will not have more to do with the history of World War II than "Pulp Fiction". Tarantino has always been known for subverting film genres and innovating film narrative forms. "Inglourious Basterds" continues his usual black and violent style. In the narrative, perhaps due to the addition of long dialogues, it appears to be procrastinated, but those well-designed The dialogue scene is highlighted by its strong psychological tension and the actor's superb performance, which is self-contained. For all Quentin fans, these are enough, but ordinary audiences can't help but ask what the movie is about! "What the hell is it about?" This sentence in Roger Albert's film review expresses the psychology of ordinary audiences.
To this, I want to give a direct answer: "Inglourious Basterds" is a movie about movies. In this movie, people are talking about the movie, enjoying the movie, and even making a movie (although it is a Nazi propaganda film). At least three important characters in the movie are engaged in film-related professions (if Gobert The doctor and the famous German actor Emil Jannings, who only revealed the following, are not counted): Shosanna, a Jewish orphan who runs a cinema in Paris, Captain Hicox, the film critic, and Miss Hammersmark, a German film star. In the movies, you can see the revisiting of the history of film and the parody and tribute to the classic movies. This is like a daydream about movies made by Tarantino: only in the movie can the Jews in turn kill the Germans, and only in the movie, the World War II can end in 1944 and end. In a movie theater.
Although Tarantino, born in the 1960s, is a younger generation than the "movie boy" (Spielberg, Lukács, Scorsese, etc.)-the earliest generation of academic filmmakers in the United States, he did not What kind of formal film education have you received? While working as a salesperson in Video Archives, a famous video store in Manhattan, he watched a lot of movies and learned basic acting skills at a private acting school. His movie knowledge and skills came from personal accumulation and consideration, where he first showed his prowess. It's not Hollywood, but an independent film festival like Sundance. Compared with the academic rigor and theoretical foundation, "amateurs" like Quentin are more likely to cultivate an irrational "movie worship". The enthusiasm for movies made him more consciously to innovate the techniques and language of movies, and it also made him inclined to regard movies as omnipotent-even if history was rewritten.
In "Inglourious Basterds", we seem to see Quentin competing with the academics: Although he has no formal film education, he is no less familiar with film history and film technology than the academics. On the first day of Shosanna's cinema, the famous German silent film director GWPabst's "White Hell of Pitz Palu" was screened. This German mountain film was filmed in 1929 and starred Leni Riefenstahl. The relationship between Riefenstahl and the Third Reich Nature has long been known. On the second day, Shosanna replaced the signboard with "Le Corbeau" directed by Henry George Cruz. This film co-produced by Cruz and the mainland film company established by Germany in France is a French film history. One of the most controversial works, after the war, Cruzo was banned from filming for two years. Later, we also saw another movie by Cruzo "L'Assassin habite... au 21" poster. A few simple details show the French film environment during the enemy occupation: By 1944, most movie theaters in France could only show German films, or like "The Crow" was invested by a German company and a French director. Filmed movie. In addition to French films, the situation of German films was also mentioned in the film. Captain Hicox himself is a German film expert. Before being sent to France to perform Operation Kino (Cinema Operation), General Ed Fenech asked him to explain "Ufa Film Company (UFA) under Gobert’s leadership". Churchill on the side asked Is his position in German films similar to that of the legendary Hollywood producer Louis Meyer? Hicox said that Meyer is not qualified enough. A suitable comparison object is David Selznik, Gobert’s target. He used his Nazi propaganda film to replace the "German film of Jewish intellectuals" in the 1920s. These contents are naturally familiar to movie fans who have read Krakauer's "From Caligari to Hitler" and related studies. Tarantino's mention here has almost no function in the plot. The only purpose is to show his familiarity with film history and his love for film-he wants to use these as materials to make a film. In terms of film technology, Quentin has also made a lot of articles. In addition to the inserted short film that explains how flammable 35mm nitrate film is with a plot function, Shosanna and her black boyfriend filmed the "Jewish" film. The short film "Revenge" is also meticulously produced. The short film was shot with a portable camera, which does not have a recording function, so Shosanna’s voice was recorded synchronously with a tape recorder, so the problem of adding soundtracks to the film occurred, and the film development process required complicated The technical conditions are not available in general movie theaters. Of course, for the sake of narrative conciseness, the director can of course ignore some problems completely, but Quentin did not. He inserted Shosanna and her boyfriend to use violence to force others to do these two tasks for them. Finally, the process of editing the short film and the film made by Gobert is also fully shown in close-up shots. Obviously, Tarantino is intoxicated by this-showing the process of making the film. General Fenech asked him to explain "Ufa Films (UFA) under Gobert’s leadership". Churchill on the side asked him if Gobert’s position in German films is similar to that of Hollywood’s legendary producer Louis Meyer, Hicox. He said that Meyer was not qualified enough, and the appropriate comparison target was David Selznik. Gobert's goal was to replace the "German films of Jewish intellectuals" in the 1920s with his Nazi propaganda films. These contents are naturally familiar to movie fans who have read Krakauer's "From Caligari to Hitler" and related studies. Tarantino's mention here has almost no function in the plot. The only purpose is to show his familiarity with film history and his love for film-he wants to use these as materials to make a film. In terms of film technology, Quentin has also made a lot of articles. In addition to the inserted short film that explains how flammable 35mm nitrate film is with a plot function, Shosanna and her black boyfriend filmed the "Jewish" film. The short film "Revenge" is also meticulously produced. The short film was shot with a portable camera, which does not have a recording function, so Shosanna’s voice was recorded synchronously with a tape recorder, so the problem of adding soundtracks to the film occurred, and the film development process required complicated The technical conditions are not available in general movie theaters. Of course, for the sake of narrative conciseness, the director can of course ignore some problems completely, but Quentin did not. He inserted Shosanna and her boyfriend to use violence to force others to do these two tasks for them. Finally, the process of editing the short film and the film made by Gobert is also fully shown in close-up shots. Obviously, Tarantino is intoxicated by this-showing the process of making the film. General Fenech asked him to explain "Ufa Films (UFA) under Gobert’s leadership". Churchill on the side asked him if Gobert’s position in German films is similar to that of Hollywood’s legendary producer Louis Meyer, Hicox. He said that Meyer was not qualified enough, and the appropriate comparison target was David Selznik. Gobert's goal was to replace the "German films of Jewish intellectuals" in the 1920s with his Nazi propaganda films. These contents are naturally familiar to movie fans who have read Krakauer's "From Caligari to Hitler" and related studies. Tarantino's mention here has almost no function in the plot. The only purpose is to show his familiarity with film history and his love for film-he wants to use these as materials to make a film. In terms of film technology, Quentin has also made a lot of articles. In addition to the inserted short film that explains how flammable 35mm nitrate film is with a plot function, Shosanna and her black boyfriend filmed the "Jewish" film. The short film "Revenge" is also meticulously produced. The short film was shot with a portable camera, which does not have a recording function, so Shosanna’s voice was recorded synchronously with a tape recorder, so the problem of adding soundtracks to the film occurred, and the film development process required complicated The technical conditions are not available in general movie theaters. Of course, for the sake of narrative conciseness, the director can of course ignore some problems completely, but Quentin did not. He inserted Shosanna and her boyfriend to use violence to force others to do these two tasks for them. Finally, the process of editing the short film and the film made by Gobert is also fully shown in close-up shots. Obviously, Tarantino is intoxicated by this-showing the process of making the film. Question, and Quentin did not. He inserted Shosanna and her boyfriend to use violence to force others to do these two tasks for them. Finally, the process of editing the short film and the film made by Gobert is also fully shown in close-up shots. Obviously, Tarantino is intoxicated by this-showing the process of making the film. Question, and Quentin did not. He inserted Shosanna and her boyfriend to use violence to force others to do these two tasks for them. Finally, the process of editing the short film and the film made by Gobert is also fully shown in close-up shots. Obviously, Tarantino is intoxicated by this-showing the process of making the film.
It is unconvincing to assert that this is a movie about movies based on the above statement alone. The function of the movie in "Inglourious Basterds" is much more than that. In addition to creating a real environment for character activities, the film itself has at least the following functions: promoting the plot, portraying characters and creating spectacles. From a big point of view, the main plot of the whole movie is the assassination of the Nazi propaganda film "The Glory of the Country" at the premiere of Shosanna's theater. The film is naturally indispensable. In detail, when Captain Hicox dressed as a SS officer was suspected by the Nazis because of his accent, he borrowed the movie "White Hell of Pitz Palu" to lie, claiming that he was from Pitz Palu and his family and him were filmed. Been in this movie. It was another movie that created the ups and downs of the plot. In terms of characterization, the German war hero Fredrick Zoller met Shosanna for the first time in a movie theater, and they were talking about movies. Zoller said that he has always liked Max Linder more than Chaplin. Unfortunately, Linder has never acted in a movie like "The Kids" (The Kids). The chase scene in it is really great. . You can hardly imagine someone who can appreciate Chaplin's movies as a war criminal, even if he only appreciates one. Although Zoller is a war hero in Germany, he is an "atypical Nazi". He has a heroic and romantic side in his bones, but the brutal and arrogant side of the Nazi paradigm is also revealed. Therefore, we see that although he likes "Xunzi Yuxian Ji", what he likes is not Chaplin's affection and humanity, but the chasing part of the movie. The complexity of Zoller's character was also revealed later when he watched "The Glory of the Country" filmed based on his own deeds. In the face of the brutal killing scenes in the movie, even though it was his personal experience, Zoller felt very upset and shook his head frequently. After the heroic passion retreated, he seemed to feel the cruelty on the screen. The "typical Nazi" response (such as Hitler and Gobert) was to smile ecstatically at the picture. At the end of the movie, when the Nazi propaganda was suddenly interrupted, a huge face of Shosanna appeared on the screen and shouted at the Nazis in the audience, "You'
As part of Tarantino's style, "Shameless Bastard" has never forgotten to see itself as an extension of film tradition. The title (Inglourious Basterds, deliberately misspelled a letter) comes from the 1978 Italian B-level film "Quel.Maledetto.Treno.Blindato" (English title Inglorious Basterds), the story is quite similar to the famous war movie "Ten The Jewish version of The Dirty Dozen. The opening whistle of Ennio Morricone's composition seemed to take us to Sergio Leone's westerns. Brad Pitt’s Lt. Aldo Raine pays tribute to the famous American actor Aldo Ray. The character model comes from a series of war movies starring Ray. When Pete and his party pretended to be Italians and followed Miss Hammersmark to Shosanna's cinema, their performance imitated the famous American family comedy The Max Brothers... It is common for directors to pay tribute to their predecessors with their work, but when this kind of tribute When it reaches a certain number and becomes a key factor for reference and deepening the connotation of movies, it has aesthetic value. They are quite similar to the "fragments" mentioned by TS Eliot in Tradition and Personal Talent. Although Tarantino’s practice of this theory is still in its infancy, his extraction of the “fragments” of the film tradition also stems from a fan-like interest. The way that tradition works in his films is nothing more than parody and parody. With collage and other methods, he has an unusual "consciousness."
"Shameless Bastard" extracts characters and paradigms from film history, tells stories that have nothing to do with real history, but are related to film and film history. Its pictures and aesthetic effects are also inseparable from films and their derivatives. A movie about movies.
The main experience of "Shameless Bastard" is a kind of violent entertainment and a catharsis of psychological tension, and nothing else. But its entertainment seems to be at the expense of eliminating the suffering of the Jews during World War II. For this reason, David Denby, an intellectually entertaining film critic of The New Yorker, accused Tarantino of evading moral responsibility and "daydreaming like a teenager." Yes, this movie is indeed a white movie about movies. Daydream, it has nothing to do with the world outside the movie from beginning to end, it points to itself. Among the major film directors, there are wise men like Kurosawa Akira and Bergman who care about issues such as history, value, and eternity, and there are also great artists like Bresson and Ozu who perfectly blend religion, philosophy and film style into one furnace. . Tarantino is closer to Hitchcock. The social and morality in his previous works ("Falling Water Dog" and "Pulp Fiction") will not exceed the level of the obscure metaphors in Hitchcock's movies. Like Hitchcock, the only real concern is the effect the movie can achieve with the audience. As the film critic MANOHLA DARGIS of the "New York Times" said, "What he takes seriously is not history, but the film itself. For Tarantino, the only thing he cares about is the film production itself." The film lacks moral and social values. This may be a pity, but it is by no means a mistake. Today Quentin is already an internationally renowned director, but he is also a man who has a passion for movies, a super fan, and he treats everything about movies with a "fetish" interest. With his love for movies, he made this movie and dedicated it to people who can share this love.
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