Over the years he has been active, Quentin Tarantino has carved quite a niche for himself among the cinematic audience. These group of Tarantino lovers are unperturbed by the unbridled amount of gore or profanity in his movies, instead they seem to enjoy it like he does. And although my sentence formation may give the impression that I belong to the other group of cinematic audience, you are very mistaken. I love Quentin Tarantino’s work and this is one of his finest.
Inglourious Basterds is an affirmation to everything Quentin Tarantino’s film-making stands for: – sardonic humour in the midst of a parlous state of events. The reason why Quentin Tarantino is so loved is his unabashed, unafraid and unadulterated style of articulate those twisted tales he carries in that genius mind of his. The amount of violence may unnerve many, but then he or she hasn’t understood the mindset of Tarantino. I remember something Eminem said once ‘Anybody with a sense of humour is going to put on my album and laugh from beginning to end.‘ That’s how Tarantino goes about with his movies. He is a child toying with all the equipment he has in his hands. The violence is mere plain-old fun.
Tarantino reinvigorates his amazing ability to write the most marvellous and striking dialogues with Inglourious Basterds, even though a majority of it is in German or French. The most breath-taking scenes which result in nerve-wracking tension feature only individuals having long-drawn out yet undeniably interesting and completely out-of-context conversations. He unleashes the power dialogues guard so earnestly, which other screenplay writers seem to have forgotten. Take for example the opening scene where Christoph Waltz’s horrifying character Hans Landa, who will go down in history as one of cinema’s great villains, has a conversation with a dairy farmer who is hiding a Jewish family. The conversation is about how squirrel and rats are both rodents, but yet we treat squirrels with hospitality and rats with hostility, and one split second later, the tone of conversations changes completely to utter horror. Obviously, much credits in bringing about the fruitfulness of such great dialogue-writing goes to actors who transform these written words to verbal medium on screen, but here one can make the case that it is the director who orchestrates these sequences, which appears to be Tarantino as well. Here’s a man who makes movies as if they are worth dying for.
Roger Ebert once said ‘No good movie is long enough’ That was the first thing that came to my mind after watching this movie. Even at a length of two and a half-hours, Inglourious Basterds does not have only single dull moment in it (much credits to editor Sally Menke for that). Inglorious Basterds is Tarantino at his best. Thank God for him. The world needs more fim-makers like him, who know how to make movies with infectious energy which grabs hold of audiences without lowering the I.Q. of the cinema hall.
RATING :- 9 / 10
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