Film Review: Inglourious Basterds

Inglourious Basterds directed by Quentin Tarantino (Universal Pictures, Weinstein Company, A Band Apart, R, 153 minutes)

Starring Brad Pitt, Diane Kruger, Eli Roth, Mélanie Laurent, and Christoph Waltz.

Dual Duels

Set in France during World War II, Quentin Tarantino’s Inglourious Basterds tells the story of two separately planned attempts to assassinate the leaders of the Nazi party.

In one storyline, Colonel Hans Landa (Christoph Waltz) – nicknamed “The Jew Hunter” for his ability to locate Jews in hiding – interrogates a dairy farmer learning that he is harboring a Jewish family under the floorboards. While Landa’s men shoot through the floor, teenage daughter Shosanna Dreyfus escapes the carnage.

Three years later, Shosanna hides in plain sight as a cinema owner in Paris under the identity, Emmanuelle Mimieux. While changing the marquee, she meets Fredrick Zoller (Daniel Brühl), a decorated German sniper and star in an upcoming German propaganda film. Smitten, Zoller convinces Joseph Goebbels (Sylvester Groth) to move the premier of the film to Shosanna’s cinema.

Understanding that this premiere will provide an occasion for all of Germany’s high ranking officers to be in the same room, Shosanna realizes that she has an opportunity for revenge.

Killing Nazis

In the second storyline, 1^st Special Service Force First Lieutenant Aldo Raine (Brad Pitt) assembles a team of Jewish-American servicemen to go undercover in France with the sole mission of inflicting terror on the Nazis.

A sadistic killer, Raine insists that his soldiers kill Nazis and scalp them as proof. In fact, he requires each soldier to personally give him 100 scalps. Through the information provided from a double agent, the Allied Forces learn that the Nazi leaders will all attend the premier of a propaganda film in Paris. With the help of the informant, Raine and some of his men gain entry to the event with the sole intention of wreaking havoc. Of course, none of this actually happened in real life. But Inglourious Basterds is a film that ponders the “what-if”.

In the Midst of Bloody Carnage, We See Compelling Characters

At its core, Inglourious Basterds is about the characters.

Waltz, playing Colonel Landa, is brilliant and deserving of every award bestowed on him for the performance. Landa is complex; ruthless on one hand, he possesses a sinister intelligence with no loyalties on the other. In every scene, he hovers over the rest of the characters as if he knows the whole plot and is only playfully toying with the other characters.

Pitt, playing Lieutenant Raine, represents the opposite of Landa. His sense of retribution trumps all other human emotions. For Raine, if a person wears the Nazi uniform, he deserves death and/or public humiliation. Although the Allied Forces are the film’s protagonists, their actions are more violent and less forgiving.

If Everyone Dies, Who Is the Protagonist?

Ultimately, the bloodshed in the film portrays the senselessness of war on both sides. As with every Tarantino film, everyone dies. But in this instance, death shows us how retribution can be, in itself, deadly. The Nazis killed millions of Jews and Inglourious Basterds allows us to watch them suffer for their crimes once more.

Yet, our desire for retribution can create psychopaths no different than the Nazis. Inglourious Basterds reminds us to be careful what we wish for.

The film represents another signpost in the Quentin Tarantino canon. Stylistically, it is everything one comes to expect from Tarantino films. However, the acting of Christoph Waltz and the juxtaposition of Nazis and retributive psychopaths makes for an excellent movie.

Verdict:  4 of 5.

Film Review: The Tree of Life

The Tree of Life directed by Terrence Malick (Cottonwood Pictures, Plan B Entertainment, and River Road Entertainment, PG-13, 139 minutes)

Starring Brad Pitt, Sean Penn, and Jessica Chastain.

Why Me?

Do you remember the last time you cried uncontrollably? In those moments when tears threaten to disrupt breathing patterns and life seems to change course, did you ask, “Why me?” Though circumstances differ from person to person, we all encounter these life altering and painful-to-the-bone scenarios. With Terrence Malick’s Palme d’Or-winning opus, The Tree of Life, such existential crises are exquisitely depicted on film.

Job

As the movie commences, Job 38:4 flashes over a blank screen. In this biblical passage, God declares, “Where were you when I laid the foundation of the earth?” For those unfamiliar with this ancient Hebraic story, Job – a Godly man – encounters immense suffering as he loses his family and economic clout. Despite hollow encouragement from friends, Job questions his suffering.

In a slightly dismissive manner, God responds to Job’s inquisition in the previously mentioned passage. And with this background acting as the sole hint behind its nonlinear narrative, The Tree of Life unfolds.

Universal and Particular

Ambitiously attempting to portray the entire history of the universe alongside an account of one family in small-town America, Malick simultaneously presents both a universal and a microscopic point of reference. With scenes depicting the creation of the universe, Malick makes visible the actions of God laying the foundation of the earth (extra kudos for a leviathan reference too). Likewise, The Tree of Life is imminently particular as Jack (played by Sean Penn in adulthood) reminisces about childhood and questions why the death of a family member was necessary.

As Jack remembers his childhood, his parents – Mrs. O’Brien (Jessica Chastain) and Mr. O’Brien (Brad Pitt) – illustrate the conflicting realities of grace and human nature as they attempt to teach, nurture, and develop their children. With a loving but heavy hand, Mr. O’Brien demands respect of his children. With quiet expectation, Mrs. O’Brien urges her children to blossom.

Encountering Evil

During perhaps the most moving section of the movie, Jack and his siblings evolve from the innocent purity of early childhood to the mischievous curiosity of childhood. Jack develops a goading sense of authority. In one scene, he challenges his brother to lick his finger and put it in a lamp socket. Without a resulting shock, the younger brother declares, “I trust you.” Moments later, Jack takes advantage of this trust by convincing his brother to put his finger over the barrel of a BB gun.  In the instant after Jack pulls the trigger, his brother’s look of shock, sadness, betrayal, and pain pours over the screen. Such actions leave the viewer enraged but also implicitly involved in this treachery. At the end of the scene, it feels like humanity is incapable of acting in a noble and just manner.

A Film of Contrast

This film, told in a stream of consciousness narrative, juxtaposes conflicting ideals. Through universality and particularity, nature versus grace, and innocent beauty next to tainted imperfection, The Tree of Life brilliantly depicts the ancient themes of Job where God seemingly permits purity, love, and uprightness to exist side by side with the reality of evil

The Tree of Life is not for everyone. It’s unclear narrative format and artistic focus requires attentive viewing and an acceptance of ambiguity. Let’s be honest; it’s an art film. However, The Tree of Life is exponentially more accessible than many films that frequent the film festival circuit. Additionally, my review has only scratched the surface of this movie. If you are interested in deeper takes, please direct your browsers to these fantastic reviews at Biblioklept and ThinkChristian. In short, I highly recommend The Tree of Life.