Quentin Tarantino fans will undoubtedly like this film. It’s jam-packed with his signature from the horror comedy, strange characters and gore. The finale is more vengeful fiction than history, as the film’s protagonist create tedious chaos on their persecutors, and do so with delight.
Inglorious Bastards is the tale of a squad of Jewish-American militia built by Lt. Aldo Raine in command to strike horror into the Germans by viciously slaughtering and scalping them. Ultimately end up siding with Shosanna a youthful female whose household was massacred when she was young and now owns a cinema in France.
The motion picture is broken down into different sections, starting with: “Chapter One, It’s a nonchalant technique to part the movie into its diverse segments.
This first scene starts in 1941 on the countryside. This is where we initially come across Col. Landa a charmer on the outside, cunning on the inside with the name of “Jew Hunter.”
It is in Part Two that we encounter the “Bastards,” We see Lt Raine, with a extreme Southern twang. He informs his squad and the audience tells the determination of their task, which is to exterminate “Nazi” soldiers in the greatest ruthless ways imaginable in order to install panic into their ranks.
During a particular scene we see their “no boloney” attitude and it is immediately apparent in their questioning of a German Captain. The tangible tale here is about Shosanna. She is lovely and attractive female and a hero in the war has developed a puppy dog obsession with her. As most stories go she is pulled into being “voluntened-told” to show a German publicity movie at her auditorium and she devises a plan to take full advantage of that and the leaders of the Third Reich including Hitler.
Hint: This is an alternate universe version of World War II.
All the scenes in "Inglourious Basterds" consist of combining and recombining the characters in various configurations.
Tarantino is a savvy, skillful art-house exploitation filmmaker. He wanted to undercut Shoshanna's revenge by inflicting sharp pangs of ambivalence on his audience, he would have made sure he shot his film that way, and you would feel it beyond any doubt. But he doesn't. There's some room for ambiguity, but not a whole lot.
But the movie's final twist, its last laugh (and it is meant to be a laugh) belongs to Lt. Raine, who tarnishes Landa's dreams of a new identity by carving the mark of his old one -- a Nazi swastika -- into his forehead so he can never deny his past, or who he really is. And, thus, the Basterds' legacy, "inglourious" as it is, will endure. As Raine begins to cut, a jaunty, semi-military tune begins to play in the background, as if taunting Landa. It swells into a rousing theme to accompany the end credits.
Brad Pitt’s avenging Tennessee hillbilly is a product of Tarantino’s imagination, as is Pitt’s squadron of ‘Basterds,’ (the misspelling is Tarantino’s) a fearsome group of Jewish-American soldiers committed to hunting down Nazis. But journalist Kim Masters recently wrote on The Daily Beast Web site that a secret group of largely Jewish commandos did exist, though in the British, not the American military. Her father, Peter Masters, had been one of them.
Called the X-Troop, Masters’ unit was comprised of European-born refugees who had fled the Nazis into England. Their fluency in German helped them stage daring reconnaissance missions into enemy territory, and allowed them to capture and interrogate German soldiers.…