Inglourious BasterdsIt only seemed like a matter of time before World War Two was “Tarantino-ized.” After all, it’s the perfect setting for the “Pulp Fiction” director’s self-proclaimed poetry and mind-boggling gore.

Set in the first year of Germany’s occupation of France, “Inglourious Basterds” – a film that’s loosely based on the 1978 Italian war flick “The Inglorious Bastards” – kicks off with Nazi Colonel Hans Landa (played by German actor Christoph Waltz) who’s on the lookout for Jews (he’s literally referred to as the “Jew Hunter”). One of Landa’s searches in the outskirts of France leads him to a Jewish French girl, Shoshana Dreyfus (played by the beautiful Melanie Laurent) – whose family is killed by Landa and his crew.

Simultaneously (but in a different part of Europe) Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift acts of retribution. And by retribution, he means Tarantino-style revenge (which translates to gore X 150).

See, Lt. Aldo wants each and every one of his “Basterds” (as they’re nicknamed in the movie) to conclude the mission with 100 Nazi scalps – not in a figurative manner. He actually wants Nazi scalps peeled from their heads. And let’s just say the special effects and makeup department do a damn good job of literally pulling that off. Eventually “The Basterds” cross paths with Shoshana and the two stories mend together.

Odds are you won’t be looking at your watch throughout “Inglourious Basterds” (although you might look away at multiple borderline repulsive scenes in the film, like when Brad Pitt’s character puts his finger directly into another character’s wound).

Only Tarantino can create a movie that combines action-packed gore with an equally powerful screenplay that carries on like rapid fire. All in all, there are four languages spoken in this film (German, Italian, English and French) which could have easily turned “Inglourious Basterds” into a chaotic mess – but that’s not the case, mainly because Tarantino made it clear that he wanted native talent in his film.

And what a relief it is to see Germans play Germans, Americans play Americans and French play French (for the most part), which really adds some authenticity to Tarantino’s take on the Nazi regime.

Waltz’ portrayal of a Nazi colonel is by far the standout performance of “Basterds.” He makes music out of Tarantino’s dialogue with his sly rendition of the character. The actor, who’s relatively unknown outside of Germany, has already won the Best Actor award at the Cannes Film Festival and there’s buzz about an Oscar nomination as well.

French actress Melanie Laurent is equally dead-on with her role. Anyone who’s seen “Kill Bill” knows Tarantino is keen on having strong-willed women in his movies and this is the case for Shoshana and somewhat for German-movie-star-turned-ally, Bridget von Hammersmark (Diane Kruger). It’s needless to say Pitt stands out in the movie as Aldo. Although the previews make him out to be the film’s protagonist, be warned that he’s not. Aldo is a cartoon-like character that oozes some comic relief in the gloomy WW2 setting.

Sure “Basterds” is a half hour too long, bounces around like a 1940’s Volkswagen Beetle and drags out some of its scenes, but its greatest flaw is a Mike Myers cameo. Nothing against Myers but come on; who can think of the man outside of comedies like “Austin Powers?”

As is the case for most Tarantino flicks, you either glorify them or in-glorify them. And you might even call him a bastard – whether it be a brilliant one or not.

andPOP Rating - 4 Stars






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