I don't know where the courage came from, but I dared to challenge Quentin's "Inglourious Basterds". To be honest, I can't understand it. Although "Inglourious Basterds" is not Quentin's peak work, it is the most Quentinian, absurd and subversive. Multiple lines and chapters have refreshed my understanding of the film again and again. This movie, I can only sum up in six words: shameless, absurd, subversive. A thousand readers, a thousand Hamlets. Everyone has their own way of interpreting movies. Some people see war, some people understand human feelings, and some people can only linger in the absurdity of life. The film reframes World War II, presents a different mode of war themes, and provides new material for film history. However, in the final analysis, this movie is like a cat and mouse game, the director is the cat, the audience is the mouse; Hans is the cat, the Jews are the mouse; the Jewish soldier is the cat, the German soldier is the mouse; Susanna is the cat, Hitler is the cat it's a mouse... Everyone's role changes with this war, there is no freedom, the only thing you can do is to be a shameless jerk in order to stay alive. Hans is known as a "Jewish hunter". In a Jewish slaughter, he played the role of a "cat" brilliantly. He cracked, breaking through the bottom line of the opponent's heart a little bit, and contentedly got the position of concealing the Jews, and a burst of fire praised his glory like a symphony. He turned into a "cat", Susannah hugged her head like a "mouse", and gradually disappeared into the depths of the grassland, beyond the shooting range, Hans smiled slightly, enjoying the breath of the savior. Hans is shameless. He uses the pain he attaches to others to satisfy his own happiness. His life is thrown away like a mustard, abandoned, and forgotten in the grassland where Susanna disappeared. The vengeance of the Jewish soldiers is horrific and absurd. Scalping, psychological threats, and baseball beatings, the calm and slightly peaceful Jewish soldiers were "born" in the Nazi-occupied France like a nightmare. Here, violence is exchanged for greater violence, and the threat fulfills the greater threat. What's more, in war, there is no right or wrong, everyone becomes the abandoned child of fate, the strong live and the weak die. The Jewish soldiers were like a group of maddened "cats", eating away at the bodies of the "mice" step by step, planting the seeds of fear and nightmares in their hearts forever. Even if they take off that skin after many years, the marks on their bodies will accompany them forever in their tragic lives. Alas, this is the Jewish soldier, the so-called art? In those war years, violence against violence also became a reason for absurd behavior. Susannah's revenge is the blossoming of blood. Susannah won the rights to the premiere German fighting hero propaganda film for her encounter with the "Nazi hero". In order to get revenge, Susanna re-shoots the anti-war and anti-Nazi movie scenes, and is ready to die with the German high-level executives. Susannah sacrificed her life to make the plan go smoothly. The film burned in the fire, and the film exploded in the background. That was the cry of the French people, and it was the cry of the oppressed. At this time, the film concentrated on the hysterical behavior of Hitler, Goebbels and other German executives, even with a strong irony, adding a sense of absurdity of war and life from the distance between the film and reality. Isn't it even more absurd that Hitler, who was "glorious" in history, was played with by a little "cat"? The roles of Hans and Aldo are polar opposites. People who think they are cats have become mice, and people who seem to be mice have branded "cats" with Nazi symbols. Hans betrayed the Nazis by threatening the leak of Operation Aldo Relying on anti-fascist groups, only to seek greater interests. Hans is a genius, a shameless bastard, but he meets Aldo, who is even more shameless. Aldo once again used his artistic talents to carve permanent marks on Hans's forehead, a torture that will never be washed away. Here, who is the cat? Who is the mouse? Shameless, absurd, and subversive all have their own answers. Is it nothing but living? War makes deception nowhere to hide; war also makes shameless, absurd, and subversion have a hiding place, is it just living?
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