Inglourious Basterds: Now? Really?

First thing's first. I know that it's technically a little late to be filing a relevant review of "Inglourious Basterds," Quentin Tarantino's latest cinematic orgy of blood and bullets. I had originally intended to write this much closer to the film's release date, but was delayed for no other reason than my own laziness. Interestingly, my procrastination might be appropriate. Tarantino began working on the script for 'Basterds' prior to 2004, but deferred. His reasons were slightly better than mine. Tarantino believed that 'Basterds' would be his masterpiece, and therefore wanted to devote far more time to the script than a 2004 release date would permit. 5 years later, the film debuts to thunderous applause at the Cannes Film Festival and an American audience ravenous for another glimpse into Tarantino's genius.

'Basterds' opens in French farm country at the home of a local farmer and his daughters in the middle of World War II. We meet both our principal antagonist in the film, Colonel Hans Landa played brilliantly by Christoph Waltze, and one of our two principal protagonists, Soshanna Dreyfus played by Melanie Laurent. As Shoshanna witnesses Landa ferret out and slaughter her Jewish family we learn why Landa has earned his nickname "the Jew Hunter" in addition to why Landa is so effective in his post: his Holmes-ian prowess as a detective and his mastery of foreign languages. We also learn why Waltze won Best Actor honors in Cannes this year and why he needs to be in any serious discussion of Best Actor nominees for the Oscar. From the first scene to the last, Waltze's mastery over both his character and the dialogue in all of its languages is simply breathtaking. It's easy to forget Waltze once described the role of Landa as "unplayable."

It is after the introduction of Landa and Dreyfus that we meet Brad Pitt's character Lieutenant Aldo Raine for the first time. It is suggested that Aldo's nickname "the Apache", given to him by the Nazis, is due to his Native American heritage. As Lt. Raine greets his squad, however, "the Apache" seems more likely to have evolved from the Basterds' pattern of behavior, as Raine informs each member of the platoon of their debt to the Lieutenant to be re-paid in Nazi scalps. The stated goal of the Inglourious Basterds is to go behind enemy lines, kill as many Nazis and wreak as much havoc on the Reich possible.

Following the primer on the Lieutenant and the graphic novel-style introduction of the Basterds, we catch up with Shoshanna once more. Shoshanna has matured into an attractive young woman now living in Paris where she has acquired a cinema. Due to the Nazi occupation, she is often forced to show German films for the entertainment of the resident soldiers. After earning the unwanted affection of Nazi hero Frederick Zoller (a rather one dimensional character played by Daniel Bruhl), Shoshanna quickly becomes enveloped in a plot by the Third Reich's higher-ups to debut the latest German propaganda film "Nation's Pride" in her cinema.

It is at this moment that the plot is propelled forward, as Shoshanna hatches a plan along with her boyfriend and assistant Marcel (Jacky Ido) to burn down her cinema on the night of the debut in an effort to avenge her dead family. British secret service in conjunction with the Basterds also hatch a plan to take advantage of the Reich's visiting dignitaries at the cinema, and at long last, the exposition of the plot ends and the insights begin.

As previously stated, Waltze is the stand-out star of this cast. His character exhibits the most depth and complexity, and appears to be the only dynamic character in the film. Though Colonel Landa should be in all ways despicable, I found it impossible to generate enmity for him. Other high points include a cameo role by Mike Myers, and a thoroughly engaging Bridget von Hammersmark, played by Diane Kruger. The greatest tension in the film comes to a head in a wonderfully scripted and perfectly executed standoff inside of a small French tavern. In terms of style, Tarantino does a fantastic job of keeping the gore and viscera in balance with the film overall and the goals of each scene. And, as period pieces go, the costumes are dead on for the age.

But for all the smart moves this film makes, it leaves several others open for debate. Much of the criticism already levied at the film has to do with Tarantino's "trademark" style of shuffling back and forth between two parallel storylines. Some critics complained that based on this, the movie had great difficulty building any sort of momentum. As a result the climax of the movie ended up anti-climactic leaving the viewer confused and disenfranchised. Each individual plot resolves, but they resolve independently of one another leaving the viewer to figure out which was the more critical element in the over-all story.

While this might be true, I don't think that this was the central error in the film. Nor do I feel that Tarantino's revisionist telling of history is a great mistake, as some Jewish and European critics have claimed. Movies and fiction in general exist specifically to provide the opportunity to examine possibilities other than reality, and that holds true regardless of time period or cultural significance of events.

The biggest issue I had in this film was the dialogue from and use of the titular characters in advancing the plot. I'll be the first to admit I went into this film with some expectations, which as an audience-member typically guarantees disappointment. I hate to say it, but Inlgourious Basterds was no different. Going into the film I was looking for two things: crisp, witty dialogue from Aldo Raine, and gleeful Nazi-killing mayhem and general face time for the Basterds. And on both fronts, the movie disappoints.

Let's examine my first point, the dialogue with Aldo Raine. Over the past 10 years, Brad Pitt has proven his ability to execute difficult verbal exchange with style and ease. My issue isn't that he fails to do this in “Inglourious Basterds”, it's that he's never given the chance. Apart from a monologue as his character is introduced, Lt. Raine isn't featured prominently as a speaking role in any of the critical scenes of the movie. This would be acceptable if Tarantino had used an actor other than Brad Pitt to portray Aldo Raine, and here's why. Brad Pitt is completely believable as a leader or authority figure in film. But in every film he's been a part of in that capacity, Pitt has established his character's authority through dialogue rather than simply cutting an imposing figure on screen. If you're looking for an actor to get by on long looks and short words, perhaps Bruce Willis or Billy Bob Thornton might have been a better option. To feature Pitt in a film without giving him the lion's share of the dialogue is a misuse of his talents. Put simply, if you're expecting Aldo Raine to be a reprise of Rusty Ryan only 60 years earlier and in the military, don't.

Secondly, what happens to Aldo Raine in this movie essentially happens to the entire Basterds platoon. After their cartoonish introductions, the members of the Basterds sort of melt into the background, not to become relevant again until the end of the film. The great, unspeakable acts of violence they're described as perpetrating against the Nazi combatants they find (and let's be honest; the stuff most people were hoping to see) is depicted sparingly. In terms of content, I don't necessarily believe the film suffers for this. If the platoon is going to participate in a plot that rivals the one being formulated by Shoshanna in Paris, surely they won't simply be able to bulldoze their way to Paris by way of guns and guts alone. But for a film called "Inglourious Basterds", the Basterds' inglorious methods play an awfully small role.

I have to concede that it was partly due to my own expectations that led to the awkward feeling I had leaving this film. I also have to concede that the decision not to feature Pitt and the Basterds more prominently in the movie could have been a conscious one. Tarantino might have intended us to consider every character an inglorious bastard. After all, they all eventually got their hands dirty somehow. Still, I can't escape the feeling that movie missed its intended mark. If you're a Quentin Tarantino fan you will certainly enjoy "Inglorious Basterds." Just don't be surprised if you're left wanting a little more 'Basterd' for the buck.