Is Waxing The Best Method

Inglourious Basterds

Enough! You better start talkin
to us, asshole, cause we got shit
we need to talk about.

Mr. White

Inglourious Basterds (sic) is amazing. Can not make it here all the honor it deserves, simply jot down some impressions, long after having seen (and reviewed) the film.

an indispensable premise of dubbing: the original version is almost entirely subtitled. That is, they speak four languages: English, French, German and Italian too - a step short and exhilarating, regularly worn in our local version. This dubbing may seem an insignificant detail, but I believe it is not trivial, since the multiplicity of languages \u200b\u200bin the script is an aesthetically important. The Italian version, the only one I've seen so far in full and that I can write clearly identifies English as the language "base", and it does coincide with the Italian, the problem is that some scenes that are not in the original version in English are dubbed in Italian, however, miserably distorted the spirit the film.

That said, I go with the first point: I do not think it makes much sense to speak of "quoting" the cinema of Tarantino. I'm not even certain that the word citation fits completely in our case: the way in which QT works references to the history of cinema or the rest of human knowledge is not exactly the meaning usually given to ' use of the quotation. I'm thinking of the simple gift, the vulgar display of erudition, but also to the instrumental to a former prestige in order to give greater luster to its creation. Basically I think that these uses are outside the intentions of the director, and I wonder: a citation, to be considered as such, needs to force recognition? Let us assume that the answer is yes. In that case we should also admit that it requires a relative isolation within the text: in other words, the quote seems to good old common sense - whatever that is - easily recognizable and distinct from any of its companions are in the same henhouse.

But what happens in Inglourious Basterds and around the QT film, perhaps for the first time in the history of cinema? That quotes, if you still want to call them, are so numerous and close together - even to each other - to be indistinguishable from each other and their surroundings. In short, the history of cinema, Tarantino then ever before him, began to close in on itself. And he did so so decided it can no longer go back to being what it was before: that a line, maybe not straight, but continued to proceed, including tear and impact of all kinds, in one sense. This line QT has given a new trend, apparently regressive: that of a spiral centered on nothing. At the center of that maelstrom, in the heart of the QT film appearance and common sense want is the absolute vacuum: no effect, neither moral nor hope in the films of Quentin. Nothing. Apparently, only an accumulation of obsessive copying, reflections, dialogues rooms and free from any "truth" or verisimilitude (as damn funny). The Last Fine no longer exists in its place is an avalanche of trash taken from somewhere, a cathedral that will never consecrated because it was built with the remains of monuments too heterogeneous, even with the decomposed waste past. We want to find evidence of this in Inglourious Basterds ? There problem here is the criptotesti The Dirty Dozen and The Inglorious Bastards (Enzo G. Castellari latter of which appears in the film of QT with the role of an unnamed German official) here are the statements of QT on the same desire to create a "spaghetti western with iconography from World War II" (Wikipedia already has a rich voice on film), or all references to the German cinema of the Third Reich ... More ? In the sequence inside the cinema in Paris, the panoramic display a party in perfect Woody Allen style, while in the final shootout, there are a lot of shots from the final copy of Godfather III (not to mention the hilarious imitation of Marlon Brando by Brad Pitt, just before) ... I could of course continue to 'Finally, if only I owned a bit' over the so-called film culture. But the relevant fact is the ignorance of the average spectator and his inability to recognize all the quotes ( 'to ridàje ) present in the film is clear as day, and there is no need to be DAMS for teachers to understand that Inglourious Basterds is filled with references more or less obvious all'Altrove film. So what?

Then you can definitely believe this story as the author of QT nihilistic never anything else, a proponent of a cinema but exciting (or perhaps because) empty. There are good reasons to do it and we can not say that it is wrong, please. I myself have been convinced for some time, I spoke very badly about this blog, at the time of Death Proof .

But today, with a few grams of wisdom in Moreover, all this seems like a pile of crap. Who, like me, you are entrusted with a vision of cinema tarantino literally superficial - especially appreciate the cynicism and cruelty (and quotes) - you lost the best part. In fact, all films are Quentin film of love, a boundless love for the cinema and fiction. Moreover, and here I open another way, what is left apart from the fiction? If anyone still has faith in the "reality" and the "real" come forward, we are going to drink with them. A couple of vodka-martini before dinner can certainly not that much harm, in those conditions, because the reality, even if there was any need to specify it, is dead and buried. Pasolini knew better and Baudrillard, el'hanno seen before many others, now that this death is under the eyes of all, how many of us to want to recognize? I do not know and I do not care that much, I'm the only one who likes to go to the movies. So I close my parentheses and return to that wonderful film subject that gives the title to my post and that really could be the masterpiece of our dear Quentin.

If Tarantino had only a cynic and a fetishist could possess all the technical skill? Maybe, but maybe not. I'll bet on the second hypothesis: if your vision is so simple, you do not need all that talent to do your job as a director, perhaps not even like to use. Then you need basic tools for your primary message (see, for example, the film director Eli Roth, film showing a wealth of directorial technique that is the wealth of technique shown by actor Eli Roth actor Inglourious Basterds ) . It 's just a personal opinion, however, who has seen the film can not fail to remember the sequence of the basement. It 's almost entirely spoken in German, and Italian and subtitled in the original version. Again, subtitles. The latter are usually quite harmful against the narrative tension, but not in this case, obviously. That sequence is technically perfect from beginning to end, it would own the film, and is not looking so tense that you can do is keep your eyes glued to the screen, you can not do anything almost, like blinking, move the chair or remember you're watching a movie. You can only watch and read the subtitles. Pure bravado, after all: it seems that the director wants to say: "I can keep you glued to the chair motionless with a scene in German, with subtitles." Very.

Tuto to reiterate that this QT with the camera is what he wants, even if there are no more doubts. Are already sufficient for its ability to camouflage certificate: Inglourious Basterds is a European film by an American author to the core, as madly in love with cinema overseas. Just compare it with other masterpieces of QT as Reservoir Dogs or Jackie Brown , USA works from the first frame to last, and not talking about actors or roles: the most fascinating parts of the film those in which the director is away from their culture of origin and then immersed in this atmosphere film for him totally "other" (I think the scene of the conversation between Hans and Shosanna, but also the parody of the German propaganda films in Pride of a Nation ).

Love, in short: Inglourious Basterds it oozes from almost every frame. It 's a slow film, composed almost entirely of dialogues and conversations: the slow and sweet in the director takes the time to follow his beloved characters and observe them closely, almost touches the faces (note the abundance of shots foreground, not at all then the last part of the film is titled "Revenge of the giant face"). This lovingly follow the characters to tell the truth is found in all the previous films, but love is a colder, more distant, perhaps more precisely American. It 's the most mature film to date QT? I do not know and I do not care, it is certain that it is more labor different than ours, perhaps because it has a history all its own: just remember that it took ten years to write the script (refer again Wikipedia for more tasty details.)

can not be Finally, forget another important gift of Inglourious Basterds . Tarantino has always worked with wonderful actors, it is undeniable, but their skills in the economy of the movies almost always finished in second place, perhaps because of the density of the script or dell'ingombrante stature of the author. Not that the recognition of Tarantino here is less, indeed, but we must recognize that acting Christoph Waltz (awarded Best Actor at Cannes 2009) is indeed formidable. The character of Hans Landa, who Tarantino said to be the best he ever created is perfect and memorable, the director also said that he feared Landa's role was impossible to play, but Waltz (which reads well in English and in French as well as his native German) has the "return" the film, to the delight of us and his audience. The cast also shine Mélanie Laurent (Shosanna, Revenge in person), Diane Kruger and Michael Fassbender.

I can not say more: welcome back Quentin, glorious, magnificent bastard!