TARANTINO
Ugly, dirty and ill
You know how it works Quentin Tarantino: a genre of film making and pays homage to the absurd. The theft of noir in Reservoir Dogs, the pulp fiction in Pulp Fiction, Jackie Brown the blaxploitation in the oriental martial arts in Kill Bill, terror router in Death Proof. And now it's up to the war. But not just any war movie, with a group of Jewish soldiers surrendered to the mission to assassinate Nazi bloodiest way possible, recover the great tradition of The Dirty Dozen by Robert Aldrich, and commands ugly, dirty and evil that made him cream of the forces that defeated the Nazis.
By Alfredo Garcia
With Basterds, Quentin Tarantino gives a sharp turn at the wheel driving the recent Kurt Russell in Death Proof and places the viewer in the midst of Nazi-occupied France by 1941. Except for historical revisionism films post-Schindler's List and Saving Private Ryan, war as epic entertainment extravaganza and is unusual in Hollywood, but, obviously, Tarantino is not Hollywood. Does it?
Yes and no, and that is something that can be seen reviewing the numerous and diverse sources of tribute and inspiration with which, through these Inglourious Basterds, Quentin Tarantino war film runs.
The most obvious reference of the last opus of the director is in its title. Although on paper the script on a command of Jewish soldiers to kill Nazis and want to settle dozens of Hitler, Goebbels, Goering and Borrman at the premiere of a classic Nazi propaganda film in Paris has little to do with the original his film is called as an Italian-led war Enzo G. Castellari in 1978, Quel treno maledetto blindato, known in America as The Inglorious Bastards.
maledetto The train was a kind of copy twice, since the argument copied to The Dirty Dozen (Dirty Dozen) by Robert Aldrich while trying to play the style of Sam Peckinpah ultraviolence, especially interesting fact was taken into that by that time the U.S. director of The Wild Bunch and Pat Garrett & Billy the Kid just throw a fierce look at World War II Iron Cross (1977).
Indeed, someone called Castellari "The poor man's Peckinpah" ("A Peckinpah for the poor"), which does not mean that the Italian director has not had a long series of commercial successes distributed worldwide, including clones Shark Italic, Mad Max and several eurowesterns of post-classical era Sergio Leone. A strange detail is that Enzo G. Castellari is the pseudonym of Enzo Girolami, also nicknamed "Enzina" and formerly known by several aliases Anglo orders for international distribution, such as EG and Stephen M. Rowland Andrews.
The argument of the first Inglorious Bastards, ie the Italian Enzo G. Castellari (actually that of Tarantino's Basterds, with "e") telling the epic war criminals played by Bo Svenson, Peter Hooten, Michael Pergolani, Jackie Basehart and Fred Williamson, that being bombed his way to prison in a military prison, they decided to participate in a suicide mission against the Nazis.
The idea of \u200b\u200busing criminals as anti-heroes one end of a war film was not exactly new. Precisely this is where the resemblance goes Dirty Dozen by Robert Aldrich, derby introducing a high dose of cynicism to the epic ally, making psychopathic murderers, rapists and depraved of the worst type to fight the Nazis. The style of a great director as Aldrich, who had ventured into the war genre with cinematic masterpieces as war revisionist Attack (Attack), with impressive performances by Jack Palance and Lee Marvin had basically the same injustices and betrayals then described in Platoon by Oliver Stone, The Dirty Dozen was using a cast with no waste (Lee Marvin, Ernest Borgnine, Charles Bronson, Jim Brown, John Cassavetes, Richard Jaeckel, George Kennedy, Trini Lopez, Robert Ryan , Telly Savalas, Donald Sutherland, Clint Walker) to tell how this group of thugs could become a relentless strike force as saying the film's tagline, "a revolution in 1967:" The animals were trained, armed them, and released them to the Nazis! ".
The film was strong for his age. Jack Palance turned down the role of embodying Crazy ending Telly Savalas-ended paid by their peers-because they all seemed very violent, and the same Lee Marvin, who acknowledges having had a blast during the shoot, where it took several tons of explosives to demolish the castle that served as headquarters the Nazis, one of the largest sets in film history, "said in many reports that the movie was just" trash to make money ", which in effect made in bulk, making it the biggest commercial success Metro during its original release (probably Marvin rejection of the film can be justified given their own experiences as a soldier in the war, which he said he was much more closely later shown in The Big Red One of Sam Fuller).
Aldrich's film is based on a bestseller by EM Nathanson, inspired, as unbelievable as it sounds, a real group of paratroopers who participated in many battles of World War II, including D-Day essential "The 13 rusty" could be a faithful translation of the nickname that his comrades in arms were put to the 101st Airborne Paratroopers, "The Filthy Thirteen," which by a strange question fraternity ritual, or perhaps a rare case of collective allergy to soap, refused to wash or shave before a mission. They also cut their hair or makeup apache style, which served well for the purpose of war propaganda broadcasting on every occasion to present the images of these bullies as possible news.
In this sense, one can see a nod to Tarantino to the real story behind The Dirty Dozen, as Brad Pitt's character, that is the leader of the Basterds, nicknamed "El Apache" and asks his men to remove the scalp of all enemy casualties.
Aldrich's film caused some loose sequels produced for television, and is one of the greatest war films copied of all time. However, beyond its historical sources already mentioned, originality is debatable, since a previous low-budget film, directed by Roger Corman, he was overtaken on the subject. Stewart Granger, Mickey Rooney, Ed Byrnes, Henry Silva and Raf Vallone were some members of the Secret Invasion (The Secret Invasion, 1964). Corman said he knew the true story of a commando group that worked against the Nazis in Dubrovnik, Yugoslavia (one of the hardest countries opposed the German occupation), in a dentist's office, and became so interested to recreate those true facts as to bring the production to the actual locations, somewhat difficult given that the deployment of production was not the strongest of the independent enterprises astute editor of The Trip and The Man with X-ray eyes
Beyond the Corman film should be considered the first film genuinely dedicated to these groups of commands dirty, ruthless, heartless and as bad as their enemies Nazis, this would be a perfect description of lunatics Tarantino, grinding with a baseball bat to their enemies, they cut the scalp to the bodies and, if left alive, they make a swastika on the forehead with a knife, the sources can be traced even to the movies made during the course of the Second World War, as the half-forgotten Gung Ho: The Story of Carlson's Makin Island Raiders (Ray Enright, 1943) with Randolph Scott and a young Robert Mitchum killing Japanese left and right after a workout designed to convert human beings into beasts of battle.
In any case there are many very good films in the style started by Corman and continued by Aldrich. One of the best is unfortunately not the best known and remembered. In Play Dirty (The scum of the desert, 1968), the great André De Toth was leaving the cinema in a big way with the story of an oil executive forced to assume military front and lead a mission impossible in the territory German, Italian disguised as soldiers of the worst kind, equal to or worse than with the Axis troops who were on their way. The film confirmed the strange peculiarity that Michael Caine had been demonstrating since the start of his career in the epic masterpiece Zulu by Cy Enfield: it can be movie superstar without ever embody a hero or anything like it. Caine again demonstrate this in another excellent film from Aldrich in the style of his previous Dirty Dozen: In Too Late the Hero (So heroes are born, 1970) embodied as one British soldier as a coward like all their comrades who had any thing by not having to deal with the Japanese who dominated the half of their own island. The slogan of this jewel of Robert Aldrich said it all: "War ... it's a dying business "(" The war ... is a dying business. ")
No wonder this kind of cynical or ironic look at the war explode in worldwide box office since 1967 and the Dirty Dozen from Aldrich. Is that the war was not against the Nazis but against the Vietcong, and no longer knew who the bad. Or, rather, looks like it was known, and some bold film Hollywood directors like Robert Altman throwing darts at the military world as great as very black comedy MASH (1970), perhaps far more creative and critical acid anti-war in American cinema.
Since this type of cynical view one can understand the comic absurdity of war by small picture small picture painted in this original Quentin Tarantino Inglourious Basterds, strange, and very black comedy moments that a real war film. There is a racist view receives little attention in the film, which deals with Jewish ancestry Nazi command led by Brad Pitt, which uses techniques so brutal as to shock the Fuehrer himself. This view makes ideological Basterds can function as an excellent double feature if it appears next to the most serious and conventional Defiance (Defiance) Ed Zwyck with Daniel Craig commanding a group of Jewish partisans very bad temper that by no means be left lead to the gas chamber without liquidation few Nazis.
The mixture of black humor, even the ultra-violent war weather, counterculture ideology and make spaghetti western music in the end the main source of Tarantino's latest film is none of those mentioned but one of the best and most original titles throughout the films as actor Clint Eastwood. Kelly's Heroes (Spoils of the brave, Brian Hutton, 1970) showed a marginal group of soldiers (Eastwood, Telly Savalas, Donald Sutherland) who were in occupied Europe there with cowboy ponchos and had long hair hippies and the motto "massacre the Fuehrer's soldiers to steal their Nazi gold." Not for nothing between both Morricone theme that abounds in Inglourious Basterds (including a right moment to locate in The Battle of Algiers by Pontecorvo) also plays on a high point in history the great theme spaghetti composed by Lalo Schifrin war for him great booty of the brave, who now makes Tarantino look so serious and moderate as a chapter in the series Combat.
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