Latest / All The Right Movies / Inglourious Basterds (2009) | Ep. 34 - Part 1

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Inglourious Basterds (2009) | Ep. 34 - Part 1 · All The Right Movies

0:04
All the right movies, we're in the killing Nazi business
0:07
because businesses are booming their name.
0:11
The Germans called out in the blasters, their target killing
0:15
Hitler. But a mission like this punch
0:18
that comes out and bursts in their blasting never goes
0:21
according to plan. Yeah, I'm just thinking.
0:24
I am from director of Quench and Tellings, you know.
0:32
Yes, yes, yes, yes, you glorious.
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Bastards Inglorious Bastards was released in 2009 as Quentin
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Tarantino's biggest box office hit the story of a team of World
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War Two soldiers and their top secret mission behind enemy
0:45
lines. The film is a fantasy historical
0:47
tale of Nazi cruelty, Allied courage and Jewish retribution.
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My name is John and the two fellas talking Italian with me
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are maths. See, I've read the Sent to your
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Nazi Balls and Westie. Well, if this is it, old boy, I
1:01
hope you don't mind if I go out speaking the Kings.
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It's 1944 and all the right movies are on the QT in Nazi
1:07
occupied France. And you know, we think this
1:10
might just be our masterpiece. Hello and welcome to all the
1:33
right Movies, A Bushwacker Nazi Killing Guerrilla Army and a
1:38
podcast on Classic Intent Films. Yep.
1:40
Secondly, a podcast. Straight.
1:43
No junk in it, yeah. Obviously.
1:45
This time round, we're back in World War 2 territory.
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We are. It's Quentin Tarantino, Brad
1:51
Pitt and a whole lot more as we talk Tarantino's Modern World at
1:55
War classic Inglorious Basterds. Oh yeah, great.
1:58
Before we get the baseball bats out, though, should we have a
2:01
little Patreon chat? Yeah, why not do it?
2:04
So if you listen regularly to our ATRM Classic podcast,
2:07
someone Like Us to carry on doing it, you can help support
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that by becoming an ATRM Patron. Patrons get access to our bonus
2:14
podcast episode called Double Feature, and access to our whole
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archive of bonus episodes and ATRM Classic episodes like this
2:21
one. The archive's huge and we have a
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load of other classics in there. If you're a QT fan, we have both
2:27
Pulp Fiction and Reservoir Dogs. Yeah, we do.
2:30
Or Brad Pitt. We've got Fight Club and Seven
2:33
and lots of other huge films covered too, yeah?
2:36
Definitely. There's no 33 year old Scotch,
2:40
but still, give it a go. Is the nuts I'd sign up with the
2:44
words, yeah. You drank it all, Westy.
2:46
Yeah, that's right. Yeah.
2:48
So to find out more and sign up, please visit patreon.com/all the
2:52
Right Movies. Or if you're another podcast
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user, you can subscribe directly on there now as well.
2:57
Just look for the subscribe button and it's simple as that.
3:00
Not easy peasy. Lovely.
3:02
For now though, Once Upon a time in Nazi occupied France were the
3:06
inglorious bastards. Yeah, as ever, the people will
3:09
want to know what Westy thinks, so Westy oblige them.
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Yeah, I mean I put this one up and I've wanted to talk about it
3:18
for a long time because there is just so much to talk about.
3:21
It's so thick. It's quite foreboding really to
3:24
think about how much there is to actually get into and how much
3:26
of this has been studied over the over the years.
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But when I saw this at the cinema, it was complete on the
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1st watch. I just left absolutely bouncing,
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just thinking there's a film for cinema people about cinema with
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World War 2, and it was really funny and it was really fucking
3:40
violent. And the soundtrack was
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excellent. And I just like, I wanted to go
3:43
back in and watch it again and again and again.
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And that's how I felt when I very first saw it.
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In later viewings, late and repeat viewings.
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Does it have the same strength? Does it have the same impact?
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Does it hold up after all this time?
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That's what I'm really excited to talk about and that's what
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I'm really excited to dive into. So yeah, I'm looking forward to
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this one. Yeah, well I look forward to
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every new Tarantino movie that comes out, and this one was no
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different in 2009. I remember liking the film at
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the time, if finding it all a bit strange.
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Blowing away Hitler and gibbles with a machine gun was and still
4:15
is mental. It's fine for me.
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And me, my strongest memory is somebody who I knew at the time
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being adamant the in the Tavern scene, the drinking aftershock,
4:25
which they definitely are not, But coming back to it for this,
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my opinions have changed in some ways, stayed the same in some
4:34
ways. There's a lot in inglorious
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pastors that I love and I'll talk about all that.
4:38
There's some things here I'm not such a massive fan of in one or
4:41
two areas. What I'm saying is I've
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rewritten the ending, obviously, but we've got a subject matter
4:47
of huge historical significance in All Star Cast and it's
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Tarantino. So the deal is some crazy behind
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the scenes stories and a load of laughs I would think.
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Yep, Yep. Well, I'll back up your
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rewriting of the end and after. There is a Wesley theory in
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here. There's been a long time coming,
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but there's one coming 0. Wow.
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Oh, it's. Going to be amazing.
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So how about you, Matt? You make that deal.
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I'd make that deal. Great deal.
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And this was the film where I got back on side with Tantino
5:12
again, because I'd loved his first three Thought Kill Bill.
5:16
Volume one was fine, bit regressive.
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He didn't really enjoy volume to and I still think Death Proof
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was one of the worst films I've ever seen.
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Wow. Here did that.
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I was going to say one of his worst films.
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I don't think it's one of the worst films I've ever seen, but
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it's definitely not his best film.
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Oh. It's definitely not his
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masterpiece. Put it out real.
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So when this came out, Tarantino didn't have much of A bar to get
5:37
over for me. But this one, at the end, I felt
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much like Westy. I was almost like, punched in
5:42
the air. Like, yes, he's rediscovered
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narrative. He's remembered that there's an
5:46
audience watching this film, not just him.
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Yeah. So coming back to it now, as
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he'd expect, it's very, very Tarantino.
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And that can be both a good thing and a bad thing.
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And I think we're kind of all on the same page and in that
5:58
respect. So this one should be really fun
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to get into. So Inglorious Bastard was
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produced by Universal Pictures, The Weinstein Company, a Banda
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Part and Babelsburg Film Studio and released on August the 20th,
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2009. Filmed on location in Germany
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and France, it was written and directed by Quentin Tarantino
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and its stars Brad Pitts, Aldo Raine, Melanie Laurent,
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Shoshanna Dreyfus, Christoph Walters, Hands, Lander and a lot
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more people that we'll get to. Definitely.
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Let's dive in then, do you think?
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Yeah, let's go for it. Let's do it.
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OK, get your Calabash pipes out. We're talking in the beginning
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of Inglorious Basterds. Wait for the cream.
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Wartime Nazi occupied France and things are about to go off.
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We're going to be looking into two of our main characters,
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Ensure Shamad Rifles and Frederick Zola, and the
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beginning of their relationship of sorts.
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But before that, it's the Jew Hunter and the Nazi Hunters it
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is it. Is.
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So the first sequences have been glorious, Pastor.
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To bring us one of the most acclaimed opening sequences,
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maybe ever. Yeah, when s s Corporal Hans
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Landau visits the home of French former Perrier Lapidite,
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followed by the demise of some hapless Nazis at the hands of
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the bastards. Specifically Donnie the Beard.
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You Donna wits. Yeah.
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Wesley, if a wrath were to walk in here right now, would you
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greet with the saucer of your delicious milk?
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I probably would, you know. I didn't mind.
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How's the opening for you? The opening.
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I mean, I absolutely love the good, the bad and the ugly.
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Oh no, sorry, inglorious bastards.
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The opening is it's it's fantastic.
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It's such a homage to classic, Classic Cinema.
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And this is one of the things that really stood up for me when
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it just you have that wide shot and it says 1941 underneath it.
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But this has been studied. It's been talked about at
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length. There's just, there's an hour
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and 20 videos on YouTube about the analysis of this scene and
8:03
camera movements and the way it plays out.
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It's the perfect lesson in suspense.
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When people said that Tarantino couldn't write suspense, you can
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see where his influences are coming from, but you can also
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see how well he is he directs these actors and how good his
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dialogue is and how that build of tension is just absolutely
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fantastic. I mean, they're just little bits
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that get me with this. The change in power as he moves
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over and breaks 180° rule. The way you only greet
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Charlotte, who's the Aryan looking daughter.
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And the other two have got dark hair and brown eyes, and she's
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got blonde hair and blue eyes and he just goes to her and each
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one's lovelier than the next. Aryan features.
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It's got that kind of vibe to it where there's all these subtle
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little nuances when he checks a pulse as she walks past and he
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holds her wrist just to see if a heart's beating.
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And it's Christoph Waltz for me here, just to start.
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Remember watching one? Who the fuck is this guy?
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Where's this guy come from? He's absolutely phenomenal in
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it. I remember this sequence and
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when it comes to the point where he says you are shelter and
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enemies of the state on you, there was an audible, like in
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the whole cinema, everyone was like, no.
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And he's, I mean just nods and there's that single tear runs
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down and there's just that shift of power all the way through it.
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Just before Christmas my boiler went off and you know, he's
9:13
getting washed in that bowl. I was like, that's really,
9:16
really familiar. Chopping board.
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Chopping wouldn't getting washed in the ball, but just put that
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the pay off when they come in. And he just puts the marks on
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the floor. And since that says that's where
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they are, continue my charade, mascarade or whatever he says.
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And they just stop blown away at the floor and that music swells
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and you're just like what? And it just hits you like a ton
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of bricks. The way just builds that tension
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and then it just explodes, literally in a cinematic flair
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of music and visuals. It's just like, look, I'm quite
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Tarantino and I'm making a huge film.
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So like it or not, this is what it's going to be like for 2 1/2
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hours and I just absolutely adore it.
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Yeah, it does have a reputation of being one of the great
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opening sequences, and for good reason.
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I think it's exceptional. I mean, mostly takes place
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inside like a very basic farmers cabin, but it's so well shot
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that it's never dull. That's sure.
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You mentioned Wesley, where the camera circles round Landa and
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Lapidi to the table. Landa kind of turns the screw
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with his dialogue, his great visual storytelling, and there's
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loads to get into. But I want to talk a bit about
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the DDL Tarantino puts into showing how Landa breaks the
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will of Lapidis, because there's quite a lot of subtle things
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going on. Firstly, I'm walking in.
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Landa comments on Lapadit's daughters being lovely, which is
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really creepy, instantly makes Lapadit uncomfortable, and me as
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well. He then asks for a glass of
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milk. Really subtle, but he's making
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it clear that everybody's there to serve him, and Landa
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constantly references the control Lapadit has.
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He has permission to switch languages or to smoke his pipe.
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But by constantly asking Lapadit questions to which you can only
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really give one answer, he's really highlighting just how
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powerless Lapadit is. It means like Jose Mourinho,
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level mind games there but. Then his pipes like Sherlock
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Holmes pipe isn't it? But he brings that out.
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It's just. Yeah, yeah, yeah, yeah.
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And Christoph Waltz. I mean, this was the first time
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I'd ever seen him in a film and I was just like, wow, his
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delivery and that close up at Lander lands the final blow.
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You are sheltering enemies of the state, are you not?
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Massive. And Tarantino said, this seems
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the besties that I've written. And I wouldn't disagree to be
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honest. We could literally do a whole
11:15
podcast on this one scene. Like you say, Westy.
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Yeah, yeah. And that huge pipe is absolutely
11:20
hilarious. That's hilarious.
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And it's so powerful because that's where he breaks the rule.
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He breaks 100 and 8080°. One just flips straight back and
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he cuts to that to show that he's back in power.
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Bang. It's very reminiscent of Once
11:33
Upon a Time in the West to me, because it's all about that
11:36
patient build up and it's all about silence in the pauses that
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landed. Just let's hang in the air and
11:43
that change in language is very disconcerting.
11:45
Like he says, he's exhausted all the French he knows, which is
11:48
bollocks because he's clearly fluent from what he said
11:51
already. He can clearly speak French.
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But then it's that realisation later on that he's gambling that
11:57
the Dreyfuses are there somewhere and they can't speak
11:59
English. So that's why he changes it.
12:00
Which I think is really clever. And I think Lapidied has been
12:03
expecting this visit to some extent because he tells his
12:06
daughter not to run into the house because that's going to
12:08
look suspicious. But I don't think he's expecting
12:11
Lando to be as polite as he is, which just throws him off
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entirely. Charm offensive.
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Yeah, exactly charm offensive. And we know like on 1st view and
12:19
we know Landa is bad news, but we also don't know what Lapidate
12:23
is hiding. So the tension is ramping up and
12:25
it's kind of there on 2 levels. Is Landa going to break him?
12:29
And also what is he hiding there?
12:30
What, what is the secret? So yeah, it's a really clever
12:33
build up to a great scene. It definitely is.
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La Petite is played by Dennis Menashir, who'd mostly been a
12:39
French TV actor. He wasn't the first person
12:41
Tarantino wanted. His LA Petite Jean Renault was
12:43
asked, but turned it down. He said.
12:45
Rules is disgusting. Characters no thanks.
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The role of a Frenchman who betrays a Jewish family is the
12:50
caricature of The Dirty Frenchman.
12:53
Wow. String of garlic around his
12:55
neck. Strike me.
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Jump back. He's fighting the Da Vinci Code,
12:59
doesn't he? I think that as many as she is
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excellent you brings loads of pathos to the role.
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Yes, yeah, he's brilliant. He said that he based his
13:07
performance on his grandfather Andrea, who had actually fought
13:10
in the French Resistance in World War 2.
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Right. And when Landa breaks, when we
13:14
get that close up on Lappa Deeds face, you can see like the next
13:17
40 or 50 years of guilt you'll go through knowing that he gave
13:19
up the drivers. It's so powerful to go from
13:22
nicking a glass of milk in one goal, which is ridiculous to
13:25
that. Yeah, in a few seconds.
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It's just incredible. Yeah, it's really, really good.
13:29
It's when he messes up the language and he says we and then
13:31
says yes. Yeah.
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Brilliant. Just little moments.
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Fantastic stuff. And Matt, you've got form on
13:36
this podcast of knocking it out the park like Teddy fucking Ball
13:39
game. How was the opening for you?
13:43
Yeah, lots of great stuff in this opening.
13:45
And I love the build up to when we see Donny Donna, which the
13:47
Bear Jew, because it's the fact that we get our first Hitler
13:51
scene as well. And it's the fact that Hitler
13:52
himself has heard of this guy, and he's rattled Hitler to the
13:56
extent that he's sending out orders to not have this guy
13:59
talked about. It's funny, that.
14:01
Good. Is that 9999?
14:03
99 Really funny. And then it's the fact that the
14:07
German captain that they've captured as well, like it isn't
14:10
intimidating enough to see his comrades being sculpt after
14:13
they've been killed. There's something worse than
14:15
that, and there's going to be this guy.
14:16
And that's intensified with the fact we don't see him straight
14:19
away. It's just that sound of the bat
14:21
hitting the wall and then the appearance of Donnie.
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Like he genuinely looks furious and scary.
14:27
But I do just wish Tom Tina would cast an actual actor.
14:30
Yeah, I'm exactly the same, yeah.
14:32
I'm not a fan of Roth as an actor at all.
14:34
Like, his first few lines are fine, but it's when he starts
14:37
whooping about the baseball game.
14:39
I find it very hammy. Yeah, very cringy.
14:42
I think Donnie should be like Tommy and Goodfellas, like this
14:45
angry little guy who everyone is terrified of because he's got
14:48
this temper. Your pesci it.
14:49
Would have been massive. A pesci with a vest on.
14:53
Actually coming out. You know but.
14:56
Roth just doesn't have the chops to pull that off me,
14:59
unfortunately, so it is still a great scene.
15:01
I think it's really funny how quickly that of the German gives
15:04
up the information that the need.
15:05
Yeah, that's fun. That's right.
15:06
So it's a great scene, but it could have been amazing with
15:09
someone else in the role of. Things that Roth's line is it
15:11
like two hits I hit you hit the ground.
15:13
It's really painful. It goes really squeaky, which I
15:16
don't expect, which doesn't work.
15:18
Yeah, the dialogue is great as well.
15:19
It's a shame. I mean, as usual in the
15:20
Tarantino film, the visuals are fantastic and we see that here.
15:24
After Donnie beats Werner, the German soldier Death, the other
15:27
one, Private Butts, instantly tells Aldo where the German
15:29
patrols are, and when he points out on the map, it's like one
15:32
shot where the camera whips between Aldo Wiki puts in the
15:35
map. Awesome that.
15:36
Yeah, it's really good. I like how Tarantino throws some
15:39
Gray and shade in there. I mean Werner, he's brave as a
15:42
lion standing up the Donny the way he does.
15:44
Just he uses that bravery to support one of the worst
15:47
ideologies in history. But the actor who plays Werner,
15:50
it's called Richard Samoa and we've spoken about him before.
15:53
Do you know where? Not off the top of my head.
15:56
Is he an alien in Return of the Jedi or something?
15:59
No, no. He plays Adolf Gatler, the guy
16:04
with one eye in Casino Royale, right when Bond kills him and
16:09
doesn't say he didn't see that one coming for.
16:11
Some reason, Yeah. Yeah.
16:12
Yeah. I would never go that in a
16:13
million years, never a million years.
16:16
And the whole concept of the bastards mocking Nazis by
16:18
carving a swastika into the foreheads.
16:20
What a great idea that is, yeah. It's really visual, brutal.
16:23
That's just Tarantino through and through that, yeah.
16:26
Yeah, Hugo Stiglitz is played by Till Schweiger.
16:30
Because he was born and raised in Germany, he'd always refused
16:32
to put on a Nazi uniform for any role, and Tarantino convinced
16:36
him by promising that in every scene where Stiglitz wears a
16:38
Nazi uniform, he would kill a Nazi.
16:41
Oh nice. There's a nice touch with the
16:43
uniforms where whenever we say the bastards dressed as Nazis,
16:46
the uniforms were a bit like ill fitting and blood stained
16:48
because of taking them from the bodies of Nazis.
16:50
Except for Stiglitz, his fits perfectly because it was his
16:53
uniform. And yeah, yeah, I think the
16:56
flashbacks are. We get a couple of times as well
16:57
to reveal Stiglitz's back story. We got one here when Samuel L
17:01
Jackson tells us he killed 13 Gestapo agents, and then the one
17:04
in the Tavern scene later on when we see him getting whipped.
17:06
Where else from keeps pissing him off by slapping him in the
17:08
chest? Might fight.
17:10
We'll get to that. Yeah, yeah, it's.
17:15
So as we've said, it's Eli Roth playing Donnie Donna, which the
17:17
Bear Jew. But Tarantino actually
17:19
originally wanted Adam Sandler, but he had to turn it down
17:22
because there was scheduling classes with funny people.
17:24
God. I don't know.
17:26
Like Happy Gilmore, The Golf Club, Yeah.
17:29
Imagine. Yeah, I agree with you guys.
17:34
I think Donny is a good character, but I don't think Eli
17:37
Roth is brilliant in the film. Sound like could have been great
17:39
kicking off. He could have been.
17:41
Yeah, when you've seen Kicking off and Punch Drunk love that
17:44
type of like rage he brings. Yeah, well, I was thinking more
17:47
Happy Gilmore, to be honest. The waterboy.
17:50
Well, Roth said that club in Nazis to death was fulfilling A
17:53
lifelong fantasy. And he also said they wore real
17:56
wool underwear. And he said that will make you
17:59
want to kill anything. God, I don't imagine.
18:02
Yeah. He also said that his girlfriend
18:03
at the time put some Hannah Montana music onto his iPod,
18:06
which made it easier to tap into the violent side of the bed.
18:09
You. Yeah, didn't he say as well he
18:11
was dying to come out when Tarantino was like, right,
18:14
action, I'm a shot action to come out to.
18:15
He's doing press UPS in The Cave.
18:17
So he looked off enough to come out and he said every time he
18:20
said he'd get like 50 press UPS. That time he was like, no, we'll
18:22
do this one tomorrow. He's like fucking hell, I'm just
18:24
like 150 press. Just kept him going, kept going
18:28
to. He's furious when he finally
18:29
came out, just which works. Yeah.
18:32
And also, I know there was a deleted scene where we see
18:34
Donnie by his bat in America and he gets Jewish people to sign it
18:38
and you can't really see it, but one of the names on there is
18:40
Anne Frank. Oh.
18:42
Wow. Yeah, listen to that Anne Frank
18:44
reference as well. Shoshanna's dad, Jacob, is
18:46
played by Patrick Elias. We'll see him really briefly
18:49
under the floorboards in the scene we talked about right In
18:51
real life, Patrick Elias, Dad was called Buddy and he was Anne
18:55
Frank's cousin. Wow.
18:57
OK now. Wow, small world, small.
19:00
Tarantino. The Tarantino first.
19:02
Yeah. So that's the introduction to
19:04
Inglorious Basterds. Some great dialogue scenes, some
19:07
great visuals and a glory death. So far, so Tarantino.
19:12
Very Tarantino. Taking all the boxes?
19:14
Yeah, no worries. From there we jump for what, a
19:19
few years? Still not the occupied France,
19:21
but now we're at the movies. We catch back up with Shore
19:24
Shana, who now owns a cinema and is calling herself Emmanuel
19:27
Mimier, and me, German soldier turned movie star Frederick
19:31
Zoller. Their relationship drives a lot
19:33
of the narrative. What do you think of it, Westie?
19:36
Well, I'll pick this scene because I just thought, well,
19:38
it's one of them ones that it seems a bit throwaway and a bit
19:41
filler, but if you look at it and look what he's put into it.
19:44
So the cinema to me is reminiscent to his cinema that
19:46
he owns the New Beverly in LA. It just says this is where you
19:49
go take the Beacon of Hope in that whole place and there's
19:52
just this little bit, these chat up line is like always preferred
19:55
Linda Chaplin, so he's all mild, manly, just talking about
19:57
cinema. She's trying to chatter up,
19:59
which is a terrible chat up line.
20:00
Imagine just going into a pub around me and be like I prefer
20:03
Spielberg. Just scores.
20:04
Easy. You've definitely used that
20:07
before, Wesley of. Course the subtitles here are
20:11
great because when he's talking about the German he says mercy
20:14
and the fact that she's over height as he was as a sniper and
20:17
he's now the target and she's now got control.
20:20
That is the is. They're both of their character
20:22
parallels and that works really well.
20:24
She comes down from the ladders and said I'm French, we respect
20:27
directors in our country. So Tarantino won wanted cons for
20:31
Pulp Fiction of. Course he did, yeah.
20:33
But didn't win in the Academy Awards and lost the Forrest
20:35
Gump. So that's obviously a nod to
20:38
like France, we respect directors and you know, a Year
20:41
We in Mercy are all in there. So it's just it's like this
20:45
whole big mash of he's just ripping the piss out of all
20:48
these people shown their parallels as characters, shown
20:51
who they are and where their dynamics sit in a scene that you
20:54
think is pretty throwing. Yeah, that first crane shot we
20:58
see when we move from the cinema Marquis and the camera kind of
21:00
spins down, It's Shana comes out the door.
21:02
I love that shot. Yeah, great.
21:05
Beautiful little cinema too, isn't it?
21:06
Yeah, it's fantastic. Love to go there.
21:08
Yeah, I'd love to wonder if they do cheese and nachos.
21:10
I'll be straight in sugar. You two working there?
21:12
A couple of experienced old heads.
21:14
Yeah, yeah. Do.
21:16
I honestly, I think I hate solar more than I hate Lander in this
21:20
I. Thought you can see Hitler.
21:23
There. No, I think I hear more than
21:24
Hitler as well, because after this, after this, you get the
21:27
scene in the cafe and he's such a smarmy little asshole.
21:32
There's something really arrogant about him, like trying
21:35
to pass himself off as this good guy wearing a Nazi uniform.
21:39
And because there is that in Western argument, like, is there
21:42
such a thing as an innocent Nazi?
21:44
Because what about all the regular guys in the army who
21:46
just were conscripted against their will?
21:49
You know, Savor and Private Ryan examines that really well with
21:52
the German soldier. Their capture says, fuck Hitler,
21:54
you can't have that argument was Oliver.
21:56
There's just like this complete lack of self-awareness about him
22:00
to not realize why Shawshannah has taken against him, like he's
22:03
invaded a country and that just doesn't seem to like, resonate
22:06
with him at all. So like, it's a great scene.
22:09
And I do love when Solo was talking to his colleagues.
22:11
It's not subtitled because so Shana can't speak German, so she
22:15
doesn't know what's being said. And we left in the dark as well,
22:18
and she doesn't understand why people are making a big deal out
22:21
of him. But yeah, I really hate this
22:22
character and it's really funny when she finds out he's a
22:25
massive war hero and she just fucks off out of there anyway.
22:28
Just leaves him by himself. Yeah.
22:30
Zola approaches to Shine outside the cinema, and she literally
22:33
leaves to get away from him. He sees her again in the cafe
22:36
and shamelessly has another pop. That's embarrassing behavior.
22:39
Oh, he's awful. And she's having a great time in
22:42
the cafe. She's reading, she's drinking,
22:44
she's smoking piss off Nazi. And have you noticed the book
22:49
that she shine? I was reading as well.
22:51
It's called The Scene in New York by Leslie Shaw Terrace.
22:54
The scene in question being Simon Templar, later played by
22:57
Roger Moore. All right.
22:59
That one right in the scene, yeah.
23:00
Yeah, Cruel Bong will end every episode.
23:02
Now go. For it.
23:04
I don't know about you guys. For watching a QT film, I'm
23:06
constantly pausing it to spend half the time looking up all the
23:08
references. Yeah.
23:10
To Roger Wood. Oh yeah.
23:12
Especially that one. So Daniel Bruhl plays Zola, and
23:16
like much of the cast, he can speak several languages.
23:18
And he said later on that at the time he was cast he wasn't
23:20
perfectly fluent in French. So during his audition, when
23:23
Tarantino asked him to speak some lines in French, he did
23:25
them in part French and part Spanish, whom Tarantino wouldn't
23:28
notice. Obviously he didn't, and Brule
23:31
got the parts. Very sneaky.
23:34
I mean to be fair, if you're fluent in English, German and
23:37
Spanish, I think I can let you off of only being semi fluent in
23:39
French. But yeah, I mean, I wouldn't
23:41
notice if people are mixing all that together.
23:43
No. Definitely not.
23:45
So we find out in the film that so Shana inherited the cinema
23:48
from Jean Pierre and Ada Mimya. There was originally a scene
23:51
with Madam Mimya in Tarantino wanted Isabelle Hooper to play
23:54
at, but they couldn't. A grain of salary, so she used
23:57
to plays with Maggie Chung, but ultimately the scenes were cut
24:00
from the film anyway all. Right.
24:01
Yeah, Isabelle Hooper would have been great in the car.
24:04
She would have been, yeah. I say that, though I do think
24:06
the very lean storytelling with like minimal back stories works
24:09
great, especially for sure Shanna, her whole family was
24:12
murdered by Nazis. That's definitely a powerful and
24:14
of motivation. Yeah.
24:16
Yeah, and that is the beginning act of Inglorious Basterds.
24:19
Some great characters, a famous opening scene, and some classic
24:23
QT dialogue. Yeah, a pretty good start, I
24:25
think. Very good start.
24:27
Can't wait to see where it goes. The director.
24:35
The director of Inglorious Bastards was the one and only
24:38
Quentin Jerome Tarantino. He needs no introduction, of
24:42
course. No, but Inglorious Bastards was
24:43
QT 7th feature film 6th If you Can't Kill Bill's Volumes one
24:47
and two as one film, which is ridiculous but fine.
24:51
Yeah, Tarantino's first war and period film.
24:54
Matt, how's this direction on Inglorious Bastards?
24:57
Well, the thing about it is he's someone who absolutely pours his
25:01
personality into his film, so. Just a bit.
25:04
Just a bit. So, and and that's interesting
25:06
because like whatever film it is you pick to watch, you just get
25:09
this insight in his headspace at the time.
25:12
And I think with this one, I think Tarantino's starting to
25:14
realise there's more to his films than being just cool.
25:19
And I think he he's starting to wrestle with bigger themes and
25:22
trying to bring a bit more maturity into his work.
25:24
So if you compare like the E Slice and Res for Dogs, it's so
25:28
horror and to watch, but at the same time he kind of makes it
25:31
cool because he puts Steeler's Wheel in there and he has
25:33
Michael Manson dancing around and he gets a bit of a laugh out
25:37
of it. It's still bullying, of course,
25:39
but he for the most part he doesn't go that way.
25:41
You know, we've talked about the opening scene and that's played,
25:43
so down the line it's played for nothing but but horror,
25:47
basically the horror of that situation.
25:49
It's the same with the basement scene that we'll talk about
25:51
later. It's nothing but pure attention.
25:54
And he doesn't try to like say to stick a A song over the top
25:58
for to show like how deep his record collection is.
26:01
And I think he's raining back on those more juvenile instincts
26:04
where he would cram in every pop culture reference he can think
26:06
of and he's just letting these scenes play out as they should
26:09
do to their best. I don't think it's totally
26:12
consistent. I think there was still moments
26:14
where he lets that kind of juvenile aspect of his nature
26:17
come through, which we'll definitely talk about, yeah, but
26:20
he's definitely wrestling with the notion here that if you're
26:23
depicted Nazis on screen, you've got to be a bit more grown up
26:26
about it. And I really like that about his
26:28
direction here. Yeah, well, Brad Pitt said that
26:30
about working on Inglorious Basterds.
26:32
Quentin said plays him as God and there are no heretics.
26:36
I mean, QT is the boss, top to bottom.
26:38
And that she was loading on his films, as they always have a
26:41
very strong vision. And this one's no different.
26:43
Classic QT, unique vision and classic QT like stunning
26:47
visuals. Another Tarantino was always
26:49
said his favorite filmmaker is Sergio Leone.
26:52
The legendary Italian director did the Dolls trilogy, classic
26:55
westerns. And I think Leonie's impact on
26:57
Tarantino might be most obvious. Not in his own Westerns like
27:00
Django and The Hateful 8, but here in Inglorious Basterds,
27:03
where there's a very clear Spaghetti western influence.
27:06
I mean we have Ennio Morricone, Leonie's old collaborator,
27:09
providing lots of the music. We'll talk about the maestro
27:12
more later. The tonal shifts from dramatic
27:15
to comical that we see here. Leori often does the same thing,
27:18
like in The good, the Bad and the Ugly, Also taken straight
27:20
from the good. The Bad and the Ugly are the
27:22
titled Freeze Freeman rules. We get to the three main
27:24
characters he has. Stiglitz, Shoshana and Joseph
27:27
Goebbels all get them. And I don't know if you've
27:29
noticed, but at the start of the film we get a time specific
27:32
Universal ident. But it's not the Universal logo
27:35
from the 1940s when the film set.
27:37
It's from the 1960s, when Leoni was at the peak of his powers.
27:40
I've got that me notice though. Brilliant.
27:43
I would say I have some issues around the total shifts I
27:45
mentioned. I don't think Tarantino handles
27:48
them as well here as Leone does. Mainly it comes in the third act
27:51
when the bastards are pretending to be Italian to Lander where
27:55
Donnie's like Maganetti. I mean, that scene is hilarious
27:59
stand alone as like an SNL sketch, but here kills attention
28:03
of the whole plot. Massively.
28:05
And the film doesn't recover from it for me.
28:07
I'll talk about that more later when I rewrite the ending.
28:10
Like Tarantino does. Rewrite history, but compare the
28:14
feel of that scene to the opening on the farm.
28:16
It's like two different films, so not perfect.
28:19
Telling to your direction for me, but still QT on an 8 is more
28:22
interesting than the vast majority of film makers on a 10,
28:25
so there's a lot to like still. Yeah, yeah.
28:28
I mean, I totally agree with that.
28:29
I think the Good, the bad and ugly influences is really,
28:32
really apparent. And that's where he's getting
28:34
these references from now. It's he's moving away from the
28:36
smaller stories. He's going bigger and scope
28:38
bigger and scale. It seems to have more depth to
28:41
the image. Do you know what I mean?
28:42
Seems to be more happening in the background.
28:44
He seems to care about the frame.
28:46
And I think even with Robert Richardson on board, who we'll
28:49
talk about later on as well, I mean, he was big and kill Bill
28:51
1:00 and 2:00, but it seems like he's listening to him more here.
28:54
He's like, So what do I do then to make this more cinematic?
28:56
Because I've lost all of me pop culture references and now I'm
28:59
going big cinema references. And that's kind of how it feels.
29:02
The camera feels a lot less erratic.
29:03
The camera feels like it's moving on purpose and it's
29:06
heavier. But what I get from his
29:08
direction here is it feels more measured, it feels heavier.
29:12
It feels like it's more serious. It's more mature open till those
29:15
moments that we'll talk about where he loses grasp on it
29:17
completely and just runs away a little bit.
29:20
It's it's he's really like Robert Richardson and a few
29:21
other people weren't necessarily there that day and he's like,
29:24
let's do this. You can play with all the toys
29:28
that they've left behind and then they come back and go, what
29:29
have you been fucking around with that for?
29:31
Put the put the camera about where it was and do that.
29:34
But it's just then types of things where it just feels like
29:36
he's listening to people more here, even though he's got a
29:39
massive stamp on it. But I do feel like from a
29:41
cinematic point of view, from a visual point of view especially,
29:44
he's definitely listening to collaborators.
29:47
Yeah, well Tarantino actually first started working on
29:49
Inglorious Bastards in 1998, with the plan being it would be
29:52
his next film after Jackie Brown.
29:54
Yeah, the script kept getting bigger and bigger though, so we
29:56
took a break from it to make the two Kill Bill films on Death
29:59
Proof in 2007. And then he went back to The
30:01
Bastards. Imagine the ramblings it must
30:04
have been in that first script. 500 pages long, I bet.
30:09
I think it's probably better than what he came over 10 years
30:11
later, to be honest. Yeah, and this you might expect.
30:14
There are a few Tarantino style cameos in the film.
30:16
So we hear you too. It was frequent collaborators.
30:20
Samuel L Jackson is the voice narrating a couple of scenes and
30:23
the OSS officer who will land and negotiate with by radio at
30:27
the end. That's Harvey Keitel.
30:29
Winston Wolf in it. It sounds exactly like Mr. Wolf.
30:31
Yeah, same orders. It's not talking into the
30:35
sticks. Just yet.
30:37
Make the fucking Deal. Also went to shallow cinema.
30:42
Explode. There's a shot of a German
30:44
soldier jumping from a window screaming.
30:46
Yeah, and that scream is Kurt Russell's final scream from
30:49
death. Proof.
30:49
Death proof, yeah. Right.
30:51
Totally worth making death proof just for that moment.
30:56
And there's also the Tarantino cameo in the bed.
30:58
You seen we talked about. We see the bastards scalping a
31:01
bunch of dead Nazis, and one of them is paid by the Big QT
31:04
himself. Yeah, it's the first one, isn't
31:06
it? It's.
31:06
The first one, yeah, yeah. Once you know it's him, you.
31:08
It's so obvious. Yeah, you're too busy looking at
31:11
their head coming. Off you, are you?
31:12
Are that's right? Yeah, totally, totally it.
31:14
Looks great, yeah. He shows up in the film within
31:16
the film too. Nation's Pride.
31:18
We are QT Shout. I implore you, we must blow up
31:20
that tower. It's delivery is actually pretty
31:23
good. Yeah, but it's just sort of an
31:24
accent. Why don't you just keep his
31:26
accent? I don't know why it's going to
31:29
be Australian in jungle. What's the manner with?
31:31
Yeah, I think he thinks 40 highly of his own acting
31:33
abilities. I think he does.
31:35
He really does. One of the camera assistants on
31:37
the film was called Gregor Tavener and he said Tarantino
31:40
creates a very specific environment on the set where the
31:44
crew was trained to be very respectful.
31:46
Mobiles are banned from the set and everyone has to hand them
31:49
into security guard at the door, as is going even Harvey
31:52
Weinstein when he visited. Give us your phone.
31:54
All right, have a look at that. And that over the cops.
31:58
Especially Harvey Weinstein. And there's another Tarantino
32:04
tradition where every 100 cans of film they go through or
32:07
celebrate with glasses of champagne all around, even if
32:09
it's like, all right, 10:00 AM or something.
32:12
Tarantino after a few glasses, Bang on about Sergio Cabucci
32:16
films. Imagine that.
32:18
Imagine that on a Fincher film. Inglourious Pastors was
32:24
nominated for Best Picture at the Oscars and Tarantino
32:26
nominated for Best Director. Do you remember we lost out to
32:30
both for the same film? It was this Theo of the
32:33
hurdlocker coffin, Bigelow. It was.
32:35
Best Picture was the hurdlocker and Best director Katherine
32:38
Bigelow made her the first woman to win Best Director at the
32:40
Oscars. That's right, yeah.
32:42
As for Tarantino, though? Venturing into new territory,
32:44
with the war genre and the film revolving around suspense.
32:47
But you know how to get to Carnegie Hall, don't you?
32:50
Practice the cast. As is often the way, in the
32:59
Quentin Tarantino movie, there was a big cast, many of who were
33:02
established movie stars. We can't go all in on each cast
33:05
member, so we've picked out the three leads.
33:07
Talk about Melanie Laurent as the tragic show, Shana Dreyfus
33:10
and Christoph Walt as the villainous Hans Landau or two of
33:13
them. But we're beginning with the
33:14
biggest movie star in the film. So Brad Pitt is Lieutenant Aldo
33:19
the Apache Rain, the leader of the bastards.
33:22
We see Aldo assemble his team through leading the mission to
33:25
blow up the cinema to ultimately helping negotiate a deal with
33:28
Landa that ends the war. Yeah, yeah.
33:31
He wants his 100 scalps. Westie.
33:33
He does. How is Brad Pitt as Aldo Rain?
33:38
American, Jewish, American soul. He's crazy.
33:41
He's having such a great time. That intro, when he's just, he
33:44
just walks on. He just fills the screen.
33:46
He's just got this presence and he's having a fucking wheel of a
33:49
time. He's having such a good time.
33:52
And you just tell he knows he's in good hands.
33:54
You know for a fact that he's got trust in the director.
33:57
He's just got, he's got this room to do what he wants with
33:59
the character. He's got room to be a little bit
34:01
playful, a little bit silly, but I think he's line delivery is
34:04
excellent. And the way he just plays these
34:07
German racial stereotypes and they're just flow into his
34:11
dialogue. You know like Schnitzel finger.
34:14
And like you know when he's told Willie, the boys going to play a
34:16
catch with his daddy again and he's got all, he's like you want
34:19
to eat the sauerkraut sandwich again.
34:20
Just these little bits, you know them even like when he's talk
34:23
about the mountain climbing accident, you let you do that
34:25
don't you? Really charming with it and he's
34:29
just really endearing with it. And I love the way that like
34:32
he's he's kind of taking the piss out of the rule and but the
34:35
rule still has this seriousness to it.
34:38
They have to have that scar around his neck, which he did he
34:40
survive a lynch and nothing else is said about it.
34:42
I think Tarantino loves putting that in there.
34:44
I think he said if three people have their own reasons why
34:47
they're looking at why he's got that scar on his neck, they
34:49
watch three different films. Yeah.
34:51
And I think that's a really interesting way to look at a
34:53
film. Same with the gold briefcase,
34:55
isn't it? Yeah, exactly.
34:56
Important fiction. So what you make up whatever's
34:58
in there, and you just take that with you.
35:00
And I think Tarantino was an expert at that.
35:01
And I think Pitt is an expert at tapping into that and then
35:04
really utilizing it. And one of the great things
35:06
about how much fun he's having is when they talk about that
35:08
Tavern, whole Tavern sequence and pictures, talk about
35:11
fighting in the basement. And that is just talking about
35:13
Fight Club. And Tarantino knows that and he
35:15
just riffs on it and keeps riffing on it.
35:17
Keeps riffing on it, yeah, for me, he said.
35:19
It's just really enjoyable to watch somebody of this talent
35:22
having so much fun. Yeah, I like Aldo, especially as
35:25
an idea descendant of legendary mountain man Jim Bridger.
35:28
So he sculpts Nazis. That's really good.
35:30
Got some engine in me. I like his monologue when we
35:34
first meet the bastards where he's like the German will be
35:37
sickened by us, the German will fear us.
35:40
And it's obviously funny when Landa keeps making him say his
35:42
name in that Italian scene and he's like Golami that doesn't
35:46
even try an accent. That's.
35:48
Amazing. However, I mentioned before how
35:51
I think the film is undermined sometimes by the handling of the
35:53
humor that revolves almost entirely around the bastards,
35:57
and a lot of it around Aldo. I think it's mostly in the
36:00
writing rather than with Brad Pitt, whose performance I do
36:02
think is good. That said, his accent is a bit
36:06
too much and a bit cartoonish. Your time is, for me, tell you
36:09
what you remind me of when he talks sometimes.
36:11
Foghorn. Leghorn.
36:14
I say, I say. I say, boy.
36:16
I mean, I love Fogo Lego, but not in the World War Two film
36:19
exploring Jewish trauma doesn't fit.
36:21
No. I don't think he ever survived
36:23
the lynching, did he? So yeah, I do like, and this
36:27
goes for the bastards in general.
36:29
I do like. Aldo was an idea.
36:30
I like the bastards as an idea, but they're a bit over the top
36:33
for me. Yeah, I think Tarantine was
36:35
executed, what he's going for. So it's not badly done.
36:38
I just don't think it's that well judged.
36:40
I would say the worst thing about inglorious bastards
36:42
probably is the inglorious bastards and Aldo could have
36:45
been great, but I think it's part of the problem as well.
36:49
Maybe he's having too much fun. I think I'm.
36:51
I'm very much the same as you, John.
36:52
It's a very broad performance and it's really fun.
36:56
But he does read as a character, like he's kind of stepped out of
36:58
a comic book, yeah. And I think the film in general,
37:01
it tends to go between the more material direction Tarantino
37:04
wants to go and stuff with Shoshana and Landa, and then the
37:08
big cartoonish feel like you get from the bastards.
37:10
And I feel the performances get pulled in those directions as
37:12
well. I mean, absolutely Pitt is
37:14
having a ball and he's never born or watch and it's really
37:18
fun, but it just clashes with the more serious elements and
37:20
the more serious performances for me.
37:22
So it's a good performance, but I get a top 10 Brad Pitt
37:26
performance. I don't think I'd have this one
37:27
in there. Right.
37:29
While Tarantino always wanted Brad Pitt as Aldo, but
37:32
apparently when he first conceived of the film he thought
37:34
about casting sliced loners Aldo, Bruce, Willis's Donnie and
37:38
Arnold of Stiglitz. Expendables.
37:41
The expendable bastards, basically.
37:45
Tarantino said he was writing the script and he started
37:48
thinking Brad Pitt would be a good fit for this, then actually
37:51
be fucking awesome at this. Then.
37:53
I can't make this film without Brad Pitt.
37:57
Tarantino flew to pitch shuttle in the South of France and over
37:59
5 bottles of Pits Marie Val wine pit.
38:02
A great to do the film. Yeah, Brad Pitt lived there with
38:05
Angelina Jolie at the time. Yeah.
38:08
Right. Proper Hollywood couple.
38:09
That isn't it. Yeah, massive.
38:12
What wouldn't you agree to do after 5 bottles of Pits Maraval
38:15
wine? Exactly.
38:16
If Tarantino loves getting actors pissed and agreeing to do
38:18
his films, every film is one of these stories.
38:21
And he doesn't need you. No, he doesn't.
38:25
He just, I think Tarantino likes getting pissed.
38:27
And I think after the first bottle when I I will do this,
38:31
I'm just going to stick around. Sticks around.
38:32
That's what you got the band Ugly.
38:35
And the name Aldo Ray, that came from Aldo Ray, he was a
38:38
Hollywood actor going back to the 1950s and he had served in
38:42
World War 2, actually at the Battle of Okinawa.
38:44
And he was moved to Johanna Ray, the US casting director on
38:47
Inglorious Basterds. All right.
38:50
Yeah, another little Tarantino verse thing going on there.
38:53
Circle of Life and The name Hugo Stiglitz is a homage to a
38:56
Mexican B movie actor called Hugo Stiglitz.
38:59
Stiglitz, yeah. Yeah, great.
39:03
I was going to call him a little non Mexican actor, but no one's
39:05
little known. The Tarantino.
39:07
If you're in a film, no. Don't know who you are.
39:10
Yeah, no major award recognition for Brad Pitt for Inglorious
39:14
Bastards. That came ten years later in
39:16
Once Upon A Time in Hollywood. But he has Andorin.
39:18
A good performance. Yeah, good.
39:21
Loads of fun. Yeah, it's really enjoyable, but
39:24
whether that's the point or not, I'm not too sure.
39:26
Yeah, the second main protagonist in Inglorious
39:30
Bastards is your Shana Dreyfus Slash Emmanuel Mimier, played by
39:34
Melanie Lauren, first appearing as an 18 year old Jewish girl
39:38
who witnesses land as men murdering her family.
39:40
We follow Shoshanna as she is stalked by Frederick Zola and
39:43
plots 2 and succeeds in killing a bunch of Nazis before being
39:47
shot by Zola in the climax. She's going to burn down the
39:51
cinema and Nazi knight. Matt, Melanie, Laureana,
39:54
Shoshanna, What do you think? A hot French woman who runs one
39:58
cinema. I think Tarantino just wrote
40:00
this perfect girlfriend in the film.
40:02
Didn't he and all of ours I. Think that was no one?
40:05
Let's. Be honest.
40:06
I can't rise above it. Of course she is.
40:08
I really like it. And what stands out to me is how
40:10
different she is to the normal female Tarantino character.
40:13
Because you've got Jackie Brown who's super cool.
40:16
You've got the bride who's awesome with the sword and takes
40:19
everyone down. Just feel like she force of
40:22
will. But sure, Shanna is different.
40:24
She doesn't have a plan. She's more than happy to take on
40:27
this other identity and just try to get on with her life and
40:30
forget everything that happened, you know, years previously until
40:33
fate brings Landa back into her life.
40:36
And I think there is just this sense that she's carrying that
40:38
burden on her shoulders of what happened to her.
40:41
She's gone through trauma and she's she probably has
40:43
survivor's guilt, which I think is why she's so happy to put
40:46
herself in the position at the end where she'll probably die
40:49
carrying out this revenge because what else has she got to
40:52
live for? But that's fine for her.
40:54
But that revenge, it's interesting that it's not just
40:56
about grabbing a machine gun and taking them all down from the
40:59
upstairs seating. It's about terrifying all the
41:02
Germans before they die, making this really audacious statement
41:06
to them, putting them through as much torture as she can.
41:09
And she's got to really plan and think about that and sit on that
41:12
plan and not just rampage through them all like the
41:15
Bridewood. So yeah, great performance, but
41:18
I really love the character. I do.
41:20
I think she's great. I mean something I definitely
41:22
enjoy throughout the film is the talent of the actors, mainly
41:25
Melanie Laurent, Daniel Bruel and Christoph Waltz, to switch
41:28
between languages often, mid scene and still be excellent.
41:31
Yeah, yeah. I saw an interview with Melanie
41:33
Laurent where she said when I read the script at the end, it
41:36
wasn't like, oh, I'd like to do that.
41:38
It was like, oh, I'm sure Shanna and I think she is.
41:41
I can't really imagine anyone else playing her.
41:43
I think she manages to convey Shoshanna as somebody with a lot
41:46
of depth and a lot of psychological scars without
41:49
actually seeing very much. The only issue I have, and this
41:52
obviously is not Mellie Laurent's fault.
41:54
It's how Shoshanna has used. I don't like that she gets
41:57
killed off. I mean, I should not be through
41:59
enough. To me, she should have been the
42:01
main character and she should have had the biggest arc, which
42:03
is what I've done in my rewrite and.
42:08
Massive pitch freeze Ray right here, like.
42:10
Yeah, and Nandi Laurent, father PLR on does the voice of Ned
42:16
Flanders in the French version of The Simpsons.
42:18
I was going to say, wow, you're going to say The Simpsons.
42:20
I was like, fucking hell. The actual Ned Flanders.
42:25
Yeah, I mean, she says a lot more like you said, John.
42:27
I think she says a lot more through expression than she does
42:29
with the actual dialogue. She does have this pain and real
42:33
kind of past that. She's hiding behind her eyes.
42:35
She's got this real violent streak that's just there.
42:38
She doesn't suffer any shit. And when I'm watching this, she
42:41
seems like the only actress, and I'm not going to say character,
42:44
I'm going to say actress who just is not bowing down to
42:46
Quentin Tarantino, who is not in awe of being in the Quentin
42:49
Tarantino film. Yeah, she's just very happy to
42:51
be there, but she's just, she's not in awe of that.
42:54
Whereas Pitts like Flamboyancy with it waltzes flamboyance.
42:57
Everyone else seems to be like, right, OK, I'm watching what I'm
42:59
doing. She does not give a fuck.
43:01
And that's just her character. And like you said when she read
43:03
the scripture, I can do this. And I think that's what Quentin
43:06
Tarantino wanted. I think he could have went to
43:08
anyone at the end and just being like we've hit 100 miles film or
43:11
whatever, there's a glass of champagne and she would be the
43:13
only one to say no thanks, Fuck off.
43:15
I'm not. I'm not bothered on our phone.
43:18
Just been really cool in French. Yeah, just be really cool.
43:21
Just like, no, fuck off. Just having a cigarette.
43:23
But I get, I get that from her, that that she's not enamored by
43:26
it and she's not overwhelmed by it.
43:28
Yeah. And that she's really, really
43:30
honestly grounds this film because it would have just taken
43:33
off like a cardboard glider without her here.
43:35
It would have just gone off and flown into into areas of like, I
43:38
don't recognize where this is going whatsoever.
43:41
But she does get a hold of it, and she's like a babysitter
43:43
almost to the last third of the film.
43:46
So yeah, I love her performance. I think she's excellent.
43:48
Well, Tom Taylor would met her three times before casting the
43:51
1st 2 auditions and the third time they went out to dinner and
43:54
he said this is something I don't like.
43:56
You're famous in your country and I'm wanting to discover
43:59
somebody, Lauren replied. No, no, no, I'm not famous.
44:02
And after that, he offered to the part.
44:04
Not brilliant. Easily convinced?
44:06
His credits? After 5 bottles of wine,
44:10
probably no. Nobody knows me.
44:13
I just got a part in acquaintance, Sarah Gina told By
44:15
the sounds of this, I'm my favorite.
44:19
And I know that in preparation for the role, Tarantino gave
44:21
Lauren a job at the New Beverly Cinema in LA.
44:24
Tarantino was one cinema as a projectionist.
44:26
She worked there for a few weeks and her final assignment was the
44:29
Screen Reservoir Dogs. Nice.
44:31
Which she did without bringing the place down, thankfully.
44:33
Fair enough. When Tarantino came up with the
44:36
character of Shosanna, when he wrote the first drafts, he wrote
44:38
or somebody who? This is so cool after seeing a
44:41
family killed, becomes a sniper and has a list of Nazis.
44:44
That's what she wants to hunt down.
44:46
That'll be fucking excellent that.
44:47
When Tarantino putting glorious Basterds on hiatus to write Kill
44:50
Bill, though, he used the idea for the Bride instead.
44:53
Yeah. What a shame.
44:55
I know. Imagine that every film about a
44:57
scorned woman with a list of people she wanted to kill.
45:00
Could have done that. He still could.
45:01
Have done that, Yeah, he. Still could have.
45:02
Yeah, it is a great idea, but I think I do prefer Shoshanna is
45:06
the more grounded version that we'll get, to be honest.
45:08
Yeah, yeah, I guess so. It would have been a goddamn
45:10
sniper's delight. And Laurent also said that some
45:15
of her French lines were written grammatically incorrectly and
45:18
she went to she actually went to Tarantino to tell him this is
45:21
badly written in French and that she could correct it for him,
45:24
which takes some balls to say that to Tarantino.
45:26
Yeah, that's what I mean, she doesn't.
45:27
Give a shit, yeah. Do you want us to rewrite this?
45:29
Because I can do that. But he said No, it's fine.
45:32
We can invent new things like language.
45:36
Like talking, just speak French. Once a time in Nazi occupied
45:42
Middle Earth. So Emmanuel are on for us.
45:46
Excellent to show Shana, and it's not that easy to see
45:49
anybody else doing it. No, definitely.
45:51
I can't say. Anyone know?
45:55
That's our two main protagonists, and the film needs
45:57
2 protagonists to compete with the antagonist of the piece in
46:00
Colonel Hans the Jew Hunter Lander, played by Christoph
46:03
Waltz, an s s officer tasked with finding Jews hiding in
46:07
France. Lander isn't ever present evil
46:09
throughout the film, responsible for the deaths of Shoshana's
46:12
family, murdering Bridget von Hammer's mark, and ultimately
46:14
making a deal with the Allies to save his own skin.
46:18
He's a damn good detective though, Matt.
46:21
And how's the Sherlock Holmes pipe to prove it?
46:24
So how was Landa and Christoph Waltz in the film?
46:27
It's like a Nazi Colombo, isn't it?
46:32
Just one more thing. I think Walton is like the
46:36
closest comparison I can make is what it must have been like to
46:39
see Rickman and Die Hard for the first time and one day.
46:43
Who on earth is this guy who's come from nowhere and he just
46:46
saunters off for the entire film in his back pocket?
46:49
It's that kind of performance, and what's really notable to me
46:52
is how much he underplayers Lander.
46:54
He's the very image of politeness in that open with
46:57
Lapidate, he doesn't raise his voice, he doesn't rant and rave.
47:00
Even when he's comparing Jews to rats, it's all very calm and
47:04
persuasive. So when that tone hardens and he
47:07
accuses Lapidate of hiding the Dreyfuses, it's all the more
47:10
impactful. And he carries that tone
47:12
throughout the film. Every scene you feel he's having
47:14
a huge laugh with everyone because he knows more than
47:16
everyone and he can see through every charade, every lie.
47:20
But he does it all with this genuine charm.
47:23
But then underneath it all, you can see how he's playing every
47:25
situation to his advantage. Like with La Petite, he says, I
47:28
like how proud he is of his nickname as the Jew Hunter.
47:31
But then at the end with Aldo, he's really dismissive of it and
47:34
he says I'm just a great detective instead.
47:35
Just. Playing the game, isn't he?
47:37
He's. Just playing the game.
47:38
I mean, he happily gives up the entire Third Reich just to get
47:41
away. So he doesn't believe in the
47:43
Nazi ethos. He's found what he's good at.
47:46
He can see it's coming to an end and he just makes us escape.
47:48
He he plays the cards to get out of it.
47:50
Yeah, a fascinating character and and Waltz is just brilliant.
47:54
Just brilliant. Yeah, I know, the QT said.
47:56
Hans Landa is the best character I've ever written, and I think
48:00
he's not just a brilliant villain, but a really
48:01
interesting one as well. I mean, what makes him brilliant
48:04
is that he's usually the most intelligent man in the room and
48:07
always the most prepared in any situation.
48:09
Every move Landa makes is intentional.
48:12
The way he talks, the way he looks at Lapidi's daughters or
48:15
drinks his milk in one go, or smokes that huge pipe.
48:18
All done very deliberately for reasons.
48:20
That's what makes them so formidable.
48:21
You can't outthink him. I mean, Speaking of Colombo,
48:24
Imagine Landa in a room with Colombo.
48:25
Find out with each other the universe would just implode.
48:30
As partners, though? Unstoppable.
48:35
What makes Lando interesting, though, is that I'm not sure
48:37
he's inherently evil. I mean, he is evil because he
48:40
does evil things, but I don't think he has an evil nature
48:43
beyond being a sociopath. I don't think he's necessarily a
48:46
fascist or bias in the Nazi ideology.
48:48
He gives up as soon as it suits him.
48:49
Like you say, Matt, he's motivated by personal gain in
48:53
climbing the Ladder of Success, as he's an Austrian serving in
48:56
1930s Germany. The way to climb the ladder is
48:58
to be a Nazi officer, but I don't think he wishes harm on
49:01
Jewish people particularly. We'll see that at the start.
49:03
He's caught the family, so has no need to kill Shoshanna.
49:06
So he lets her go because he has no desire to kill her.
49:09
I mean, not that this justifies any of our Lander does it all.
49:11
People like this still played their part in the Holocaust, but
49:14
what Landa enjoys is exuding power by our witting people.
49:18
He does it with Lapadit, he does it with Bridget.
49:20
Whether he recognizes Shoshanna in the restaurant or not, he
49:23
clearly revels in the control that he has over in that
49:26
situation. He's on no one side but his own,
49:28
but he's capable of making everyone think he's on their
49:31
side, which is why he's so dangerous.
49:33
And Christoph Waltz, I mean, he's outstanding as Landa, we
49:36
all know that. Yeah.
49:37
Tarantino was apparently so blown away by him that he had
49:39
Waltz rehearsed just with him, so the other actors didn't know
49:42
what to expect when they got to the set.
49:44
Wow. Wow.
49:45
In a film full of great performances and big stars,
49:48
Christoph just Walters off with the film for me.
49:50
Nice. Nice.
49:52
Yes, he does. Yeah, I mean, I'm going to.
49:54
I'm not going to disagree, am I? I mean, it's great.
49:56
It's strange for me. The when I first saw this, I
49:59
thought every film he's going to be and he's going to be
50:01
absolutely electric and I don't think that's he's followed
50:03
through since this one. I mean Django, he's incredible.
50:05
And yeah, this is incredible in see it's just his line delivery,
50:09
his physical presence. But yeah, I mean, I don't know
50:11
if he's inherently evil, because normally if you'd see this kind
50:16
of film, like that's where the height and he'd pull out a Lugo
50:18
and just start shooting them. Yeah, that would be the Westie
50:20
version, would it? No, I don't.
50:22
I don't like milk. I would have the wine and just
50:24
wonder about everything probably.
50:28
But yeah, I mean it's just, I mean that walk that he does when
50:30
he walks up the La Petite at the start, that tracking shot, he's
50:33
got such a physical presence there.
50:35
It's a brilliant shot. And every time you see him in
50:38
close up, he's got such contours to his face.
50:41
He's got such emotion. He's got such excellent change
50:44
of expressions from evil to just laughing and, oh, you know, at
50:48
this moment I I can't remember, you know, But yeah, I mean, like
50:52
I said at the start, we're talking about, Walter thought,
50:53
well, he could he'd be an incredible You walk out of that
50:56
for the first time, someone stops you with the microphone or
50:57
do you think this guy would be a good Bond villain?
50:59
You go, I think he'd be incredible.
51:01
But he wasn't that good and he what's he going to do next?
51:05
Do you think he'd be good on the Green Hornet?
51:06
I think he's probably saved that film.
51:07
But he doesn't. Tears doesn't work.
51:10
Probably the best thing I've seen him in since Django was
51:13
Horrible Bosses too and he's. Fucking excellent.
51:17
I think that is just testament to his relationship with
51:20
Tarantino and how influenced he is by Tarantino.
51:23
And Tarantino was influenced by Walt.
51:24
And I think what you're looking at here is a relationship, not a
51:27
singular performance. I think Tarantino is one of the
51:30
best directors out there at getting performances from his
51:31
cast. Yeah, unrecognizable
51:34
performances that people can't do again.
51:36
Yeah, so it's pretty hard to imagine anybody else's Lander
51:38
now. But do you know who the first
51:40
person who Tarantino had in mind was?
51:42
I. Don't know.
51:43
I can't think of anyone else who's that charismatic and speak
51:45
four languages. No, it was Leonardo DiCaprio.
51:49
Of course it was. Although they are also reported
51:53
it was Aldo Rain he wanted DiCaprio for.
51:55
By the way, QT opted against LDC when he decided he wanted actors
51:58
fluent in multiple languages. I mean, DiCaprio was the bad
52:02
guy. That could have been great.
52:03
That would have been great. And Landa speaks 4 languages in
52:07
the film, English, French, German and Italian.
52:09
And because Tarantino wandered an act of fluent in all four, he
52:13
found the role very difficult to cast.
52:14
And he later said he was wrote that he'd written a part that
52:17
was unplayable, to the point he considered abandoning the whole
52:20
project. But then Lawrence Bender, the
52:22
producer, convinced him to try for two more weeks, and that was
52:25
when they found Christoph Waltz. Yeah, I mean, there's no waltz.
52:28
There's no film. There's the movie.
52:29
Well, exactly, yeah. Well, I saw an interview with
52:31
Lawrence Bender where we said at 7:00 or 8:00 in the morning, QT
52:35
called him into his office and said that's it, We can't find
52:37
Landa and I can't do the film. It's over.
52:39
Spit these dummies 7:00 in the morning.
52:44
And then about two hours later, Waltz walked in and auditioned,
52:47
and Bender said that he and Tarantino were like high fiving
52:50
each other. I mean, play cool lads, don't
52:52
look different. Also, what you doing in the
52:56
office at 7:00 in the morning? Ridiculous.
52:57
Exactly. Just having a Paddy at 7:00 and
53:00
then Waltz comes in to start high five and each other.
53:02
He's thinking I've definitely. Got this.
53:04
Few extra 1000 on his salary. You really want me, do you?
53:07
Let's see how much you really want me.
53:09
Tarantino said that he got the name of Hans Lander from one of
53:12
his regular customers at Video archives.
53:14
The rental story worked out before he was famous.
53:17
The real Hans Lander was Austrian and Tara.
53:19
He and Tarantino bonded over a mutual of European films.
53:23
He passed away and that was when Tarantino had the idea and name
53:25
his character after him. It's a lovely story.
53:28
Yeah, that's a shame. That guy would have loved it, by
53:30
sounds of it, yeah. He would have loved it.
53:32
Yeah, definitely. And also, apparently, when he
53:34
was auditioning to play Archie Hickox, Michael Fassbender, who
53:37
speaks German as his first language, asked about playing
53:40
Lander. But Tarantino said.
53:42
Look, man, any guy that gets cast as Heathcliff is not
53:45
fucking germed enough to play Lander, OK?
53:49
OK, right, right. OK, and he only speaks 3
53:52
languages, Michael Fassbender, which is 1 less than the
53:54
required amount. So get out.
53:56
Yeah, yeah. Rubbish.
53:59
Before we finish on Christophe Walter's hand Lander, we have
54:01
our first Patreon question. So as you may know by now, one
54:05
of the benefits of signing up to be an ATRM patron on Patreon is
54:08
that we'll answer your questions on the show.
54:11
The first one of those is here. It's on Lander and it comes from
54:14
Hannah Cuccias, which I think is the correct pronunciation.
54:18
Apologies if not Hannah, but hello.
54:19
Yes, hello, Hannah. So Hannah has asked, is Walter's
54:23
portrayal of Landa one of the best villain acting performances
54:25
of all time, if not the best? What do you think, Matt?
54:30
I think in that question acting was the keyword for me because I
54:33
did think Veda straight away. But is that a great acting
54:36
performance? Definitely not.
54:40
Definitely James Earl Jones. Maybe not Dave Proud.
54:44
I'll I'll be surprised if you guys don't mention this one.
54:46
But I think the flip side of Lander is obviously Ralph Fried
54:48
and Schindler's List. Yeah, that was my #1.
54:51
Yeah, obviously very similar in some ways, but very different
54:53
only another one that came to mind, an actor in this film, a
54:57
very different character, Michael Fassbender in 12 Years a
55:00
Slave was absolutely abhorrent in that.
55:03
So I'd say those two and what they have in common and what I
55:06
find fascinating in a village what we've kind of talked about,
55:08
which is do they know the being evil and act in that way
55:12
deliberately or do they think I know this is just the way things
55:15
are, the Holocaust, the slavery, That's just how things are.
55:18
And that to me is more interesting me of playing the
55:20
villain and I think that's where you're getting those
55:21
performances. But yeah, Walter would have to
55:24
be up there. Yeah, you're right, Martin.
55:26
I mean, what's interesting about Hannah's question is that she
55:28
has Nastif Landai is the greatest villain, rather, is it
55:30
the greatest acting performance? But I mean, from that point of
55:34
view, you've still got people like Anthony Hopkins is Hannibal
55:36
Lecter, Kathy Bates, Honey Wilkes, he's Ledger, he's the
55:39
Joker. Anthony Perkins is Norman Bates.
55:42
There's quite a lot of great ones and as a performance I
55:44
would say, yeah, I think Christoph Walters Landai is in
55:47
that conversation with those names.
55:49
He's that good. Just needs a few more David
55:52
prowess, fist clenching and think I'm pointing.
55:55
Force jokes. That's how I'll do that.
55:57
The scarf, Yeah, I mean, you guys have mentioned what I was
56:02
going to mention. To be fair, it's all fairly
56:03
straightforward when it comes to the villains of the piece
56:05
because it's very hard to match what's come before.
56:07
I would say Max Cady from Cape Fear De Niro in the remake will
56:11
be very similar for me, a villain, A villain is someone
56:13
who's just villainous through and through and can't
56:15
necessarily change and it's just has that in them.
56:18
It's in their DNA as a nasty evil person and even it's that
56:23
if something changes it's it's for them and they can't, they
56:26
can't shake that. Whereas I think this
56:28
performance, it has got villain written all over it, but I think
56:31
it's more of a cowardly performance and charismatic.
56:33
I think he's more of a coward than he is a villain and
56:35
brilliantly played. Well, for his performance as
56:39
Hans Landa, Christoph Waltz won Best Supporting Actor at the
56:41
Oscars, which made him the first actor to win an Oscar for a
56:44
Quentin Tarantino film. Wow.
56:47
Do you know who the second one was?
56:48
Well. It was him again, wasn't it?
56:50
For Django. It was Christoph Waltz again for
56:53
Django Unchained, where he was excellent as a good guy that
56:55
time. Yes, brilliant.
56:58
And he has Landa. We think Waltz is pretty
57:00
exceptional. Oh yeah.
57:02
It's just incredible. No, Landa.
57:03
No film, Yeah. There's a big ensemble casting
57:06
Inglorious Basterds, and coming up we're going to talk about
57:09
several other supporting cast members, but in our Big Three,
57:12
Brad Pitt, Melanie Lauren and Christoph Waltz, We're fans of
57:15
all of them. Oh, definitely.
57:17
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That's betterhelp.com/A TRM. Thanks again to better help for
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sponsoring this episode. The middle.
58:45
Moving into the second act of inglorious bastards, it's all
58:48
about tension and suspense. The famous blow out in the bar
58:51
room basement is coming. But first, we're staying with
58:54
Shoshanna and Landa for the most awkward dessert ever.
58:57
I. Think so.
58:58
Yeah. Got to be up there.
59:00
So was all I refusing to take no for an answer from Sure Shanna,
59:03
red flags all over the place for this guy?
59:05
Yes, fucking guy. She's invited to dinner with the
59:09
Nazi minister of propaganda, Joseph Goebbels about hosting
59:12
the film premiere of Nations Pride, starring as Allah.
59:15
Invited to nice word. Get the fucking car.
59:20
Went from Norway in Walk Lander, yeah.
59:23
Yeah. Very fuzzy Cream mad.
59:27
How does this all play out? Very tensely, I've got to say, I
59:34
love this introduction to Landa because that conversation is
59:37
just going on with Goebbels and everyone else.
59:39
And then suddenly out of nowhere, ah, Landa.
59:43
And then boom, he's there. The music kicks in.
59:46
And sure, Shanda's reaction is just one of completely being
59:50
petrified by this. And I think it riffs on the
59:53
opening scene brilliantly, because again, you're asking
59:55
yourself, how much does he know? Does he recognize Shoshanna
59:59
here? Is he playing innocent with it,
1:00:00
or does he recognize it from years ago and this is just part
1:00:03
of his game and it just shows again, like how easily he takes
1:00:07
control of every situation he's in under this polite disguise.
1:00:12
Like Lapidite asking if he could smoke a spike in his own home.
1:00:16
Here, Shoshanna was having a food ordered for her.
1:00:19
He doesn't even ask if she wants cream, but he tells us she's got
1:00:21
to wait for it anyway. But it's this kind of
1:00:24
conversation as it's going on. And the 20 says, I did have
1:00:27
something else I wanted to ask you.
1:00:29
And you get that pause and you get that close up of his face,
1:00:33
which gives nothing away. But then he says he forgets it
1:00:36
and just puts a cigarette out. And this truly made such a big
1:00:39
deal out of you get to the end of the scene.
1:00:42
I'm still not sure if he's recognized or not.
1:00:43
I think it's exceptionally well done this one.
1:00:47
Yeah, I like to see just before this where we meet Major
1:00:49
Helstrom for the first time. When he comes to Picture Channel
1:00:52
with the cinema music, Get your ass in the car.
1:00:55
Then he's all over the top. Nice as pie in the restaurant.
1:00:58
Horrible. Yeah.
1:01:00
And how good. Sylvester Growth, who plays
1:01:02
gurbles. Yeah, he played Gurbles before
1:01:04
in a film called Mine Fura. I think he's great.
1:01:06
Another like horrible sleaze of a man.
1:01:08
Yeah. Yeah, he's awful.
1:01:10
And once it's Landa and Josh and I left alone again, there's some
1:01:12
great little touches. Tarantino drops in to raise
1:01:14
attention. The music when Landa comes in.
1:01:17
Bath Attack by Charles Bernstein.
1:01:24
Really. Percussion driven.
1:01:25
Kind of sounds like Shoshanna's heart beating out of her chest.
1:01:28
Yeah, And then you get those extreme close-ups of the bowl of
1:01:31
cream as a waitress. Scopes under the strudel.
1:01:33
They're really weird but grey. And the way that land all is a
1:01:36
glass of milk for Shoshanna has us like, does he know that it's
1:01:39
her? And there's been debates online
1:01:41
for years about whether he does recognize her or not.
1:01:43
Personally, I think maybe he does.
1:01:45
But because he doesn't buy into the Nazi ideology, like I said,
1:01:47
and doesn't see her as a threat, he's not really bothered.
1:01:50
He'd rather just toy with her. Either way, what is brilliant
1:01:53
again? I'm sure Shannon
1:01:54
hyperventilating when he leaves the room is great stuff for
1:01:57
Melanie La Ron. Yeah.
1:01:58
For me it's the it's the close-ups in this sequence and
1:02:01
the expressions and in this sequence especially from
1:02:03
Shoshanna. Then she's just when he orders
1:02:05
of the milk and she's eyebrows just raise yeah and she just oh
1:02:09
OK yeah fucking now he's playing with us and I definitely think
1:02:12
he knows who she is 100% makes a big deal out the strudel.
1:02:16
Waits for the cream cream against dairies from hiding in
1:02:18
the dairy farm. There's all these different
1:02:21
little things that he's just just the way that he's eating
1:02:23
that strudel. For me, the performance here
1:02:25
from Waltz, when he's just eating it and just takes that
1:02:28
tiny little crumb and just has that little that little bit and
1:02:31
wait and think of why is he, why is he doing this?
1:02:34
Why is he taking the piss so much?
1:02:35
And there's something else that's been put online as well
1:02:37
as that. When he puts a cigarette out in,
1:02:38
it looks like the house, like the la petite house that you run
1:02:41
from. All right, And watch how we eat
1:02:43
it. He turns the plate and he's
1:02:44
like, he's fashioning it into something, Yeah.
1:02:46
Right. And that close up speaks
1:02:48
volumes. The close up of the cream is
1:02:49
incredible as, I mean, I don't really like whipped cream, but I
1:02:52
do when I'm watching that, I really fancy that that looks
1:02:55
absolutely brilliant and there's just these slow pushings, like
1:02:58
when Shoshan is lying about what where the cinema and Auntie and
1:03:02
uncle, there's a slow pushing as she's lying.
1:03:05
And then we're just talking about Marcel, who she knows the
1:03:07
answers to. It's a static and it's not a
1:03:09
close up because she knows the answers.
1:03:11
It's genius and not just visual storytelling.
1:03:14
But the other giveaway is the smoking.
1:03:16
I don't think he smokes. He didn't smoke a pipe, didn't
1:03:19
do much with that, and he lights the cigarette and he blows the
1:03:21
lighter out. He doesn't need to blow that out
1:03:23
because it has a clasp on it to cancel the flame anyway.
1:03:26
All right. Right.
1:03:27
Like you said, the hyperventilating at the end, the
1:03:28
way that just cuts when it cuts is so much more powerful than
1:03:32
just lingering on that. It just that cuts to me, one of
1:03:35
the best cuts in the film. I think it's absolutely
1:03:37
fantastic sequence. It is pretty brilliant.
1:03:40
Well, time for our second period question now.
1:03:42
It ties in with this scene and it comes from Paul Wilson.
1:03:45
Hello, Paul. Hello, Paul.
1:03:47
So Paul's asking where can I get that apple strudel?
1:03:51
It does look great, to be fair. Also, if you can order one food
1:03:54
item from any Tarantino movie, which one would you choose?
1:03:58
He loves a food drop. Does Tarantino?
1:04:00
No. Yes.
1:04:01
He does. He does.
1:04:02
What do you think, Wesley? Well, we wrote these down and we
1:04:05
don't normally do it. And I'm so pleased with Dave's.
1:04:07
I think we all would have ordered the same shit.
1:04:11
So for me, it was a cross between.
1:04:13
I wanted to, I wanted to say that pint from jungle.
1:04:16
But that's not food, is it? Amazing.
1:04:19
That pint is like one of the best pints I've ever seen when
1:04:21
it scrapes the form of, the form of.
1:04:23
I mean, I know that might be food to some people, but I
1:04:25
cannot sit in that camp. So I would have to say the $5
1:04:29
shake, which is almost food from Pulp Fiction.
1:04:32
Yeah, with a packet of red apples, which is some people's
1:04:35
food if you're smoking this. So I would have the $5 shake.
1:04:38
I need to know what that tastes like ever since Travolta's
1:04:41
reaction to it. I need to know how good that is.
1:04:43
It's got no bourbon or anything in it.
1:04:45
So I'll have that. And then I would have a red
1:04:46
apple and I would basically I would drink it halfway down and
1:04:48
then just put the red apple out in it.
1:04:54
Yeah, well, I'm going Pulp Fiction as well.
1:04:55
It's got to be a Kuna burger. Yeah, of course it does.
1:04:59
I would have gone royal with cheese, but that's just 1/4
1:05:01
pounder. You just got my money.
1:05:04
Let Big Mac Yeah, I mean that shot of when Jules first picks
1:05:09
the burger up is the best looking burger I've ever seen on
1:05:11
screen. Yeah, so it has to be that.
1:05:14
And then I'd steal your menu St. wash it down with a $5 milkshake
1:05:17
from Jack Rabbit Slims and then nice a red apple cigarette to
1:05:20
turn it all off. Nice three course, Tarantino.
1:05:23
And then Zola's going to interrupt you as you're having
1:05:25
it. Oh.
1:05:27
God. Yeah, I'm going for The Hateful
1:05:30
8 in The Stew, The Half and Mini's Haberdashery.
1:05:32
All right. Because that film mean it's so
1:05:35
cold. That film everyone's freezing
1:05:37
and that Stew just looks so warm and like, big and hearty and
1:05:41
inviting. I would just want to get stuck
1:05:43
in a ball of that. From being from the north of
1:05:45
England, I don't think we've had a bad Stew.
1:05:46
No, no. Well, big fancy Stew.
1:05:48
And so yeah, I'd have that, and then I'd have the pint from
1:05:50
Django. Yeah, it is cold, but that's too
1:05:53
much. It looks absolutely disgusting
1:05:55
in the hateful is I'd rather drink the coffee.
1:06:00
I don't know, like I've seen some meals you've consumed in
1:06:02
the past, John. It didn't look particularly
1:06:05
advertising, but you should be fucking enjoying.
1:06:07
Yourself so Gables has arrived, Landa is back, and Tarantino,
1:06:12
the master of suspense, all of a sudden.
1:06:14
Yes, he is. Where's that come from?
1:06:19
After the tension of the restaurant scene, we head to the
1:06:21
village of Nadine for even more tension.
1:06:25
The Allies and Bastards Operation Kino was underway and
1:06:28
Lieutenant Archie, Hickox, Stiglitz and Wiki head to the LA
1:06:31
Luzin Tavern to meet their contacts.
1:06:33
German movie star Bridget von Hammers Mark, played by Diane
1:06:36
Kruger. Unfortunately for Bridget and
1:06:39
the Bastards, Major hail strums there too.
1:06:41
Yeah. There's a special rugging hell
1:06:44
reser for people who waste good Scotch or aftershock.
1:06:47
Apparently. Yeah, you're not one of those,
1:06:50
Westie. I will be on the after show.
1:06:54
So how is La Luzi on? I mean, to me, this is where the
1:06:58
film is exceptional in the detention building.
1:07:02
The storytelling, the dialogue, the camera placement, the ACT
1:07:05
and everything is just absolutely exceptional.
1:07:08
The way it just builds on itself, introduces more actors
1:07:11
come in, more characters come in that you didn't think we're
1:07:13
going to be there. When he just comes from the
1:07:15
back. And Wilhelm said that you have a
1:07:17
strange accent and Stiglitz outcome over and take over.
1:07:21
And it's kind of a, why didn't Stig, let's take this over from
1:07:24
the start? Why didn't you just have the
1:07:25
German speakers from the star Wise?
1:07:26
He got to be in the middle with the one with the weird accent
1:07:29
and you just start going. But yeah, it's fantastic.
1:07:31
It's a fantastic sequence and absolutely, I mean, there's a
1:07:33
split diopter in here just to show that Hammers Mark is part
1:07:37
of this whole sequence, part of the environment.
1:07:39
She fits in here. She's the same as everybody
1:07:41
else. I mean, the first time I saw
1:07:43
this, it just pounds over here. And though when it erupts, it
1:07:46
erupts. And it's incredibly violent and
1:07:48
it's incredibly well edited and we'll get into that with the
1:07:51
editing. But for me, this whole sequence
1:07:53
is 23 minutes of pure attention. I just think, why?
1:07:58
Because the vote. They've already got a place.
1:08:01
He's dropped into France. The bastards have got him.
1:08:03
She's just in the Tavern. Why don't you just finish her
1:08:05
drink and just walk to where they are?
1:08:07
To me is that it's from a narrative point of view.
1:08:09
There's no reason for this scene to necessarily happen.
1:08:13
It's a brilliant scene and I'm so pleased.
1:08:15
It does happen, but I think this is just where Tarantino's
1:08:19
written it a little bit too quickly and he can't really join
1:08:21
the dots, so that lets it down for me as a whole film.
1:08:25
But if you break it down into sequences, this is one of the
1:08:28
the best sequences I've I've ever seen, just directed and
1:08:31
acted from for 23 minutes of pure attention of just like
1:08:34
watch this. It's incredible, but it feels
1:08:36
like it's just plunked in, not taking anything away from the
1:08:39
scene, The build of tension, like he said when he's been
1:08:42
interviewed, it's like a rubber band just being pulled and
1:08:44
pulled and pulled and pulled until it can't be pulled anymore
1:08:47
and then it just snaps. And when it snaps, you fucking
1:08:50
know it does. It's just, it's brilliantly
1:08:53
done. But for me, I just really,
1:08:54
really wish this had a start and an end where it hooked it all
1:08:58
together. Yeah, I think it's an even
1:09:01
bigger master class and suspense in the last scene we just talked
1:09:03
about. It is.
1:09:04
It's unreal. As soon as Hell From reveals
1:09:07
himself where he's like, May I inquire turning off the
1:09:11
turntable, That's a great touch. The tension goes through the
1:09:14
roof and it just doesn't stop. I mean, Tarantino knows that he
1:09:17
needs something like how does Hickox give himself away?
1:09:20
And he knows it has to be good and satisfying and memorable.
1:09:24
And it is. I think most people would know
1:09:26
what you were talking about if you referenced holding up three
1:09:28
fingers in Germany. Have you noticed as well?
1:09:30
When Hickox holds up his three fingers, Bridget's in shot and
1:09:33
there's a really small reaction from her where she's give us a
1:09:35
look like shit. And there's like a minute after
1:09:38
that of nothing, No dialogue and her just looking over at him,
1:09:41
just being like, Oh yeah, yeah, he's fucked it.
1:09:43
Yeah, I know he has. Yeah.
1:09:44
Yeah, It's where he's bringing the drinks over, isn't it?
1:09:46
There's no dialogue at all for over a minute.
1:09:47
Yeah. And Speaking of Bridget, I've
1:09:49
never seen Diane Kruger as good as she is here.
1:09:51
I think she's outstanding, which is excellent.
1:09:53
And the dynamic in chemistry between August dealers Hellstrom
1:09:56
and Fassbenders, Hickox Pathway, Sizzles that.
1:09:59
Yeah, absolutely brilliant. And the end of the scene with
1:10:03
Aldo and Wilhelm's Mexican standoff is great too.
1:10:05
I remember being shocked first time round when Wilhelm get shot
1:10:08
when we cut to see the Bridget holding the gun.
1:10:11
So one of the greatest suspenseful scenes I've ever
1:10:13
seen to be honest. Although I can't believe they
1:10:16
didn't kill Wilhelm with A Wilhelm Scream.
1:10:18
What's the point in anything? You're for an aftershock or two?
1:10:24
I think I'll stick with the champagne.
1:10:25
Actually classy guy I. Mean the film in general, I
1:10:29
think it's full of great character, either Entrances or
1:10:32
revelations, and the one Withheldstrom is brilliant.
1:10:35
The way just cuts from sitting there and he's been listening
1:10:38
all along and he can identify the different accents.
1:10:41
So from this point on you're just waiting for someone somehow
1:10:46
to give the game away. Is it going to be the drunken
1:10:48
German Wilhelm? Is it going to be the French
1:10:50
daughter? Is it going to be something to
1:10:52
do with this card game, that the plane, everything is like this
1:10:56
slow dance of just waiting for the tension to break and the
1:10:59
scene to explode. And it's something again.
1:11:03
I think it kind of rips on the opening scene.
1:11:04
There's all this polite language, there's all this
1:11:07
forced laughter, disguised. What's really going on?
1:11:09
You know, someone has to carry a lighter and everyone burst into
1:11:12
like, laughter at that. You know the captain is immune
1:11:15
to my charms. It's this wonderful back and
1:11:17
forth, waiting for someone to snap.
1:11:19
And when you get that expression on Hellstrom's face, you know
1:11:22
he's clocked him. It's not being German, but you
1:11:24
don't know how, and you're dying to find out.
1:11:27
You cannot wait because you're thinking, well, what's he done?
1:11:31
What's he done there? He's just held his fingers up.
1:11:33
No one knows unless you really know German.
1:11:36
And then after this scene, what's interesting is you cut to
1:11:39
the vet where you see Bridget's gunshot wound being treated.
1:11:42
And in the script, Aldo and his men forced the vet to help by
1:11:46
Donnie shooting two of his dogs, and that moment was removed.
1:11:49
Be can still see the two dead dogs in the background.
1:11:51
Yeah, and Rain does say tell me, go and play with these dogs.
1:11:54
And he throws them towards the dead ones, which is really
1:11:57
Harrow. Yeah, it's awful.
1:11:59
The part of Archie Hickox was originally written for Tim Roth,
1:12:01
which makes perfect sense, but he had to pull out due to
1:12:04
schedule and conflicts with these TV show lied to me all
1:12:07
right. Tarantino then offered the part
1:12:08
to Simon Pegg, but he had schedule and conflicts with The
1:12:11
Adventures of Tintin. Tarantino then went through
1:12:14
auditions, and that's how we found Michael Fassbender.
1:12:17
Yeah, Fassbender's really in the film for about half an hour, but
1:12:20
every scene he's in like Electric.
1:12:22
Yeah, he's memorable. Reading the script, you must
1:12:24
have been like, I'm only in three scenes, but God, this
1:12:27
dialogue. Yeah, When Hickok is, like,
1:12:29
resigned to his face and he's like, if this is it, oh boy.
1:12:32
I hope you don't mind if I go out speaking in the Kings.
1:12:35
Yeah, what a line that is. It's unbelievable.
1:12:38
And then he drinks Hells from a Scotch and he's like, I must
1:12:41
say, damn good stuff, Sir. Fantastic dialogue, fantastic
1:12:46
delivery by Fassbender. I feel that as him knowing his
1:12:48
final moment in the film every time.
1:12:50
It's my favorite part of the film.
1:12:52
Oh, wow. Yeah.
1:12:54
And at one point, Hickox tells Halstrom that he and his family
1:12:56
from a village at the foot of the Pitts Paloo, and they were
1:12:59
in The Reef and Style film, which he mentions.
1:13:01
And this was a real film, and it was called The White Hell of
1:13:04
Pitts Paloo and it's Todd Lenny Reef and Style.
1:13:06
And it was directed by GW Pops and his name is on Bridget's
1:13:10
heart in the game not to play he.
1:13:12
Mentioned it as well. Doesn't earlier on GW.
1:13:15
Yeah, he does, Yeah. We see a poster for that film,
1:13:21
Mature Charlotte Cinema too. And one of those great crane
1:13:23
shots I talked about. It's one of those like classic
1:13:25
illustrated posters from the 30s.
1:13:27
I love those. I briefly considered buying it,
1:13:30
then I realized it might give people the wrong idea having not
1:13:32
having on me wall. So I went for 2001 instead.
1:13:36
That they'd have to know really not let you get nations pride.
1:13:43
And just before the Boss shootout, we'll see the scene
1:13:45
where Hickox is briefed by Winston Churchill, played by Rod
1:13:47
Taylor, and General Ed Fennick, played by Mike Myers.
1:13:50
Yeah, but if a surprise you see Myers Shop isn't it.
1:13:53
It is surprise, but I think he's he's all right in it, not that
1:13:56
bad. He's just he's, it seems like a
1:13:58
kind of a knock off of Austin Powers doesn't it?
1:14:00
Really. No junk in it.
1:14:01
Got the gist. Yeah, that was that, Yeah.
1:14:06
Yeah, I mean, we've talked about the brilliant scenes.
1:14:08
I think that's the worst scene in the film.
1:14:09
It always takes me out of it, seeing my eyes in there.
1:14:12
With that amount of makeup on, you can't think of anything.
1:14:14
But Austin Powers really dislike that scene.
1:14:17
Yeah, it takes me out of the film a little bit as well,
1:14:20
seeing Myers in there just randomly.
1:14:21
Yeah, but Ed Fennick is named after Edwidge Fennick, who was a
1:14:25
French jello scream queen of the 60s and 70s.
1:14:28
She's a bit easier on the air than Myers, as you might
1:14:30
imagine. I would hope so.
1:14:32
Winston Churchill appeared in that scene 2 and it's played by
1:14:34
Rod Taylor. Tarantino wanted Taylor and
1:14:37
called him, and Taylor said, what do you want me to do?
1:14:39
I'll do anything, Tarantino said.
1:14:40
I want to play Churchill And Taylor said you realize Albert
1:14:43
Phinney is available turned into said.
1:14:45
If Rod Taylor turns me down, I'll call Albert Finney.
1:14:48
And Taylor agreed to come out for time and for the film.
1:14:50
And he's great in it. But, like, is he necessary?
1:14:53
Because all he does is quiz him on his movie knowledge and then
1:14:56
he knows a little bit more and he's like, yeah, brief him.
1:15:00
Churchill was a massive movie. Buff.
1:15:04
I think Tarantino thinks everyone's a movie buff.
1:15:06
Yeah, he does. Yeah.
1:15:07
That's how you prove yourself, isn't it?
1:15:09
It was Rod Taylor's final ever film role.
1:15:11
Before he passed in 2015, he'd been in some classics like The
1:15:14
Time Machine, The Birds and a 1968 war film called Dark of the
1:15:18
Sun. And that was why Tarantino
1:15:20
wanted him like his livery, where soon as he got mentioned
1:15:23
Louis B Mia, he's like brief him.
1:15:25
Yeah, yeah. And we've reached the end of the
1:15:28
middle Lots of dialogue, lots of gunfire, and a King Kong is
1:15:31
African Americans allegory. Who else but Tarantino?
1:15:34
Who else? The crew.
1:15:42
A combination of long time QT Collaborate as an industry
1:15:45
legends were in front of the cameras and Inglourious Basterds
1:15:48
and that pretty much sums up the crew behind them as well.
1:15:50
Yep, we're going to be talking about the various musicians who
1:15:53
contribute to the score as well as Robert Richardson as the
1:15:55
director of photography. But before we do, we're back
1:15:58
with the big fella we are, as always on his films.
1:16:02
Quentin Tarantino didn't just directing Glorious Basterds, he
1:16:05
wrote it to QT 7th feature as writer, director, 6th If You
1:16:10
Can't Kill Bills. Volumes One and two was one
1:16:12
film. It's officially 6 doesn't.
1:16:14
That's what people say. Yeah, it is, Yeah.
1:16:16
So what do you think of Quentin's writing then, Matt?
1:16:19
I think the writing is probably why I've never been able to
1:16:23
enjoy this film as I did the first time at the cinema.
1:16:27
Yeah, because I think it's very episodic, but not in a way
1:16:32
that's satisfying. Like, Pulp Fiction has a
1:16:34
satisfying episodic structure to it.
1:16:37
Because for one thing, you have the fact that the bastards and
1:16:40
Shoshana never meet in the film, and I don't think he's trying to
1:16:43
make a clever point or a narrative point about that.
1:16:46
I think he's just having so much fun writing about both of them
1:16:49
and he gets to the end. He's like, oh, they didn't meet.
1:16:52
Oh well, that's fine, I'll just get on with it.
1:16:55
And also the fact that this is a real bum note for me.
1:16:58
But the fact that Shosanna dies and for she knows her plan is
1:17:02
going to fail and she never gets any kind of revenge on Landa,
1:17:05
which I feel the film is setting up for her to do.
1:17:07
Even if she dies in the process, she's going to get some kind of
1:17:11
revenge. But as far as she knows she
1:17:12
doesn't have. I think that's just a real shame
1:17:14
for that character to to die in that way.
1:17:17
And then also I think if you look at the bastards themselves,
1:17:20
apart from Aldo, Donny and Stiglitz, the design very
1:17:23
memorable. And I think if you look at like
1:17:25
those kind of World War Two Men on a Mission films that
1:17:28
Tarantino will be influenced by, Think of like how memorable
1:17:32
everyone is in The Dirty Dozen, like even a small character like
1:17:35
Donald Sutherland or Telly Cevallus, and that they're
1:17:38
really memorable. Or The Great Escape, you know,
1:17:40
Charles Bronson's really memorable.
1:17:42
James Coburn's really memorable. But here, most of them are just
1:17:45
kind of just in the background and they don't really seem to
1:17:48
have that much about them to be called The Bastards, which I
1:17:52
think it's a shame really saw. Yeah, I think the episodic
1:17:55
nature of this script just leaves quite a few flaws in
1:17:58
there. By the standards of most of the
1:18:00
writers, this is great, but by his standards it's quite a step
1:18:04
low of what he normally delivers, I think.
1:18:07
Yeah, I think there's some classic Tarantino writing here,
1:18:09
Some great characters like we've talked about, the dialogue is
1:18:13
fire like we've talked about. And one of the other parts of
1:18:15
the writing that I really love are the recurring themes of
1:18:18
cutie drops in. Firstly, there's a kind of audio
1:18:21
theme that revolves around languages.
1:18:23
The film's written in three main languages, English, German and
1:18:25
French, and there's some Italian too, if you can call Golami
1:18:29
Italian. Only 30% of the films in
1:18:32
English. And what I like is how languages
1:18:34
play a part in the plot. In the opening that we talked
1:18:36
about land that changes from French to English, meaning the
1:18:39
drivers don't realize they've been found in the bar room scene
1:18:42
we just talked about. Hickox's accent almost gives
1:18:44
them away to Hells from and there's misuse of a hand signal
1:18:47
does give them away. That's all really good.
1:18:50
My favorite recurring theme though is the way that cinema
1:18:53
and film is like the backbone of the narrative.
1:18:56
Shoshanna owns a cinema, Hickox is a film critic, Zola is a
1:18:59
German movie star, Bridget is a world famous movie star.
1:19:02
And what makes it not just work but sing for me is the way that
1:19:06
cinema is a key part of the plot.
1:19:08
So these character details all have meaning.
1:19:10
Hickox isn't just a film critic, he's part of the mission because
1:19:13
he's a film critic. Shoshana becomes part of the
1:19:15
story because she owns the cinema.
1:19:17
And then bringing in gurbles and the Nazi propaganda films is
1:19:20
utter genius in that story. Shoshana's story, the power of
1:19:24
film, is used to fight the Nazis.
1:19:25
They burn down the cinema with the 35 mil film and then
1:19:28
Shoshana uses the cinema scream to taunt them as they're dying.
1:19:32
I mean, a cinematic theme is such a Tarantino angle to take
1:19:34
in a World War Two film. It's not been done before as far
1:19:37
as I know and I couldn't love it more.
1:19:39
It's Tarantino's greatest movie concept for me and he's got a
1:19:41
few bloody good ones. However, like I say, I don't
1:19:45
like how Shoshanna's handled as a character, and I've rewritten
1:19:47
the ending before we get to the end section because there is
1:19:50
some extraordinary writing here, but some flaws for me as well.
1:19:55
Does everyone know that John's rewritten the end?
1:19:56
And by the way, you're. Giving it some like Johnny,
1:20:00
you're building it up. It better be good.
1:20:02
It's not that good, to be honest.
1:20:05
Not even that good. Anyway, I agree with what you
1:20:09
guys are saying. I know that it's very meta in
1:20:11
its regards to cinema and his love of cinema and the power of
1:20:13
cinema and how he believes that cinema actually destroyed the
1:20:16
Nazis within their propaganda films.
1:20:18
And because of that and because of the power of cinema since
1:20:22
World War 2, they have maintained this force against
1:20:27
the Nazis. You know all the World War 2
1:20:28
films that followed. Even up to now, even if you're
1:20:31
watching Fury of, you're watching Dunkirk, there's still
1:20:33
resonating. The power of cinema still does
1:20:35
explain what actually happened. But I think what he's doing is
1:20:38
he's using something that's based in realistic and you have
1:20:42
to take it seriously. It's realistic fact of World War
1:20:45
2, any stage and what his beliefs within that.
1:20:49
So he's already putting it in a setting where you know what that
1:20:52
setting is. So you have a certain frame of
1:20:54
mind in regards to how he writes and what he wants.
1:20:57
I think he's just got too many ideas here and I'd like to see
1:20:59
this a lot more streamlined in the writing.
1:21:01
Nothing's more clear to me than the opening credits because when
1:21:05
I'm opening credits start, it's three different colors and five
1:21:09
different fonts. And every time the music comes
1:21:11
in, it's comes in with a different font and a different
1:21:13
color and a different idea. And I think that's what he said
1:21:16
about the whole film. It's not going to make sense and
1:21:18
I don't want it to. This is a film for me because I
1:21:20
really understand cinema and art and follow this.
1:21:22
I wouldn't say selfish and I wouldn't say pretentious either.
1:21:25
I would just say he's just excited by all this stuff and
1:21:28
there's some stuff he's excited by that I'm not.
1:21:30
And I think that's that's the difference.
1:21:32
I. Mean.
1:21:32
We've talked a bit about Tarantino being inspired by
1:21:35
Spaghetti Westerns, and he did consider calling this Once Upon
1:21:38
a Time in Nazi Occupied France, which was after Once Upon A Time
1:21:42
in the Western, Once Upon a Time in America, both by Sergio
1:21:45
Leone. Yeah.
1:21:46
Bit of a mouthful for a title. It is a bit.
1:21:48
It is, yeah. It's great a title for chapter
1:21:51
one, though, Tarantino tells us straight away.
1:21:53
They were basically watching a fairy tale.
1:21:55
And the name of the film came from the Inglorious Basterds in
1:21:58
1978, war film directed by Enzo Castelleri in Tarantino, spelled
1:22:03
definitely not for copyright reasons, but to make it match
1:22:05
with how Aldo Rain would say it. Yeah, the tagline of the
1:22:09
Inglorious Bastards was whatever The Dirty doesn't did.
1:22:12
These guys did it, dude. Yeah, and Enzo Castellori
1:22:17
returned the favour in 2010 when he released the film called
1:22:20
Caribbean Bastards Spelled Bastards.
1:22:23
And that's about drug trafficking.
1:22:24
Pirates who dress like the droogs from A Clockwork Orange,
1:22:28
which sounds amazing. And.
1:22:32
The title we see the start. The film doesn't use the
1:22:34
designed logo. It's a scan of town.
1:22:35
Tino's on handwriting. Yeah, yeah.
1:22:39
It was taken from the cover of the first draft of the
1:22:40
screenplay. Yeah.
1:22:41
And it's been made yellow, so you must like it Westy.
1:22:44
Yeah, well, there you go. I didn't want to mention that I
1:22:46
thought it would sound like a broken right.
1:22:49
Yellow credits automatically. Brilliant.
1:22:52
Tarantino said that he had the opposite of writer's block when
1:22:55
he was writing the film. Ideas just kept coming and he
1:22:57
had like 12 hours worth of material.
1:22:59
He said that he actually considered making ATV miniseries
1:23:02
instead of a film. You.
1:23:03
Can tell that, I think. You can tell that.
1:23:05
Yeah, you mentioned the idea to Luke Besson, the French
1:23:07
director, and he said, Quentin, you're one of the few people
1:23:11
that makes me want to leave the house to see a movie.
1:23:13
And Tarantino said that was one of those things that you can't
1:23:15
do in here and it was a factor in him rewriting it as a film.
1:23:18
Yeah, fair enough. Yeah, 9 1/2 hours he could out.
1:23:21
I'd love to see that. I'd love to see a miniseries.
1:23:24
It makes so much more sense. It won't tell Luke Besson to sit
1:23:27
in the car with his fucking phone.
1:23:30
Imagine the boss team would be in that 12 hour version.
1:23:34
Your whole episode. I think, yeah.
1:23:36
Yeah. The film is fictional, but
1:23:37
Tarantino did take some inspiration for the plot from
1:23:40
real life World War 2 mission by the Office of Strategic Services
1:23:44
called Operation Green Up. Three OSS agents called
1:23:47
Frederick Mayer, Hans Winsberg and Franz Webber who are Jewish
1:23:51
former Nazis parachuted into Austria and over several months
1:23:54
they gathered Intel on the Germans Alpine fortress by
1:23:57
posing as Nazi officers. Mayer was captured and tortured
1:24:00
by the Gestapo, but refused to give the other two.
1:24:03
Rather than kill him, though, General Franz Hoffer used Mayer
1:24:06
to make a deal with the USS where he would surrender the
1:24:08
Nazi forces in Austria. Similar to Howlander makes a
1:24:12
deal with USS at the end of this film.
1:24:15
Yeah, there was a documentary made in 2012 about those OSS
1:24:18
agents called The Real and Glorious Basterds.
1:24:21
Franz Vapor died, but Frederick Mayer and Hans Winberg were
1:24:24
still alive and you see him torture each other on like a
1:24:26
Zoom call, having not seen each other for decades.
1:24:29
And Hans died the day after that call.
1:24:31
Oh really? Wow.
1:24:32
Yeah, it's genuinely quite moving.
1:24:34
Wow. Free, brave men, yeah.
1:24:36
So as well as cinema being a key theme and part of the part,
1:24:39
they're also, as you expect, many references to movies
1:24:42
throughout the film. So when Gurbles and his
1:24:45
entourage leave in the cinema after Shoshana hosts the
1:24:47
screening Forum Francesca, who's played by Julie Dreyfus, she
1:24:51
mentions Lillian Harvey, who was a UFA actress in the 1930s.
1:24:56
Yeah, Goebel shouts, not to mention her name in his
1:24:58
presence. Because when Lillian Harvey's
1:25:00
choreography had been arrested by the Nazis for being gay, she
1:25:03
posted bail for him and helped him escape Germany.
1:25:05
And then she had to flee Germany in 1939.
1:25:07
So that's her story, Yeah. OK, right.
1:25:11
And then in Shoshana Cinema, on the Night of the Nation's Pride
1:25:14
premiere, we see Goebbels introduce Ola to Emil Jennings.
1:25:17
And he had starred in several silent classics like Faust,
1:25:20
which was directed by FW Myrnau, and the Blue Angel Way course
1:25:24
starred with Marlene Dietrich. Yeah, he was a huge star.
1:25:27
He was the winner of the first ever Best Actor Oscar to Emil
1:25:30
Jennings. Yeah, and also with the premier,
1:25:33
Enzo Castellori, director of the Inglorious Bastards on Caribbean
1:25:36
Bastards. We can see him in the
1:25:38
background, standing behind the bastards.
1:25:40
Oh yeah, he's behind Aldo, isn't he?
1:25:41
Yeah, the bold fella. Yeah, right, OK well, also with
1:25:45
the premier, Donnie says. He's called Antonio Margaretti,
1:25:48
who is the director of cult classics like Cannibal
1:25:50
Apocalypse. The North Sea Town team was a
1:25:52
huge fan. Yep.
1:25:53
See you properly mad. Margariti Margariti.
1:25:58
That will do. Of course, Torrentino is a fan
1:26:02
and also Aldo in pseudonym was Enzo Golami.
1:26:05
That's not an accident. Enzo Golami is the real name of
1:26:08
Enzo Castellori. Skin confusing us.
1:26:14
And then one more reference when Marcel sees Shoshanna in the red
1:26:18
dress, he says. Oh, La La Danielle Dario.
1:26:21
Well, Danielle Dario was a huge French movie song singer going
1:26:24
back to the 1930s. Yeah.
1:26:27
Yeah, she died at the grand old age of 100.
1:26:29
Danielle Daria. And you had a career that was 8
1:26:31
decades long. Jesus.
1:26:33
I'm. Complaining about that.
1:26:35
Think we used to be doing this in eight decades time.
1:26:37
We'll run out with classics by that long depends on.
1:26:39
Many people make more grey films, Really.
1:26:42
Tarantino often links his films together by family names, and
1:26:45
that's no different here. Donnie Donowitz is the father of
1:26:48
Lee Donowitz, the producer of Coming Home in a Body Bag in
1:26:50
True Romance. Aldo Rain is the grandfather of
1:26:53
Floyd, the pothead in True Romance, also played by Brad
1:26:56
Pitt, which is. And Archie Hickox is the great,
1:27:00
great grandson of Pete Hickox, played by Tim Roth in The
1:27:03
Hateful 8. Oh, OK.
1:27:05
Yeah. Yeah, So I guess that explains
1:27:07
why you want the Tim Roth at Hickox first of all, Right?
1:27:09
Yeah. I mean, you'd be gutted if you
1:27:11
were in a Tarantino film. And he came out a few years
1:27:13
later and said, Oh yeah, that guy.
1:27:15
He's a twin of the GIMP him. He was the GIMP.
1:27:23
For a screenplay for Inglorious Bastards, Quentin Tarantino was
1:27:25
nominated for Best Screenplay at the Oscars, lost out to Mark
1:27:28
Ball for the Herd Like a QT, though, As ever, some
1:27:32
exceptional stuff in the Inglorious Bastard screenplay,
1:27:35
yeah? Yeah, he's never written a bar
1:27:37
and script, put it that way. No.
1:27:42
From the writing to the music and Inglorious Bastard is
1:27:44
notable in that the soundtrack is a mix of pre-existing music,
1:27:47
largely obscure pieces of spaghetti westerns, and garaging
1:27:50
infused rock together at last. Definitely.
1:27:53
So quite the eclectic mix. Westie.
1:27:55
Yeah, how would you like the music?
1:27:57
I think the music here is done just to completely blend into
1:28:00
the film and support the visuals.
1:28:02
I don't think this is QT going. I'm going to stick this on a
1:28:05
vinyl for people to buy and listen to it in its entirety
1:28:08
from start to finish. I don't think it has a flaw like
1:28:11
let's say Pulp Fiction. I even Kill Bill, Wanna kill
1:28:13
Bill Two or Reservoir Dogs. It's not made for that.
1:28:16
I think it's made as a cinematic piece taken really huge
1:28:19
cinematic swells and putting them underneath the visuals that
1:28:22
he's trying to really address the importance of cinema and and
1:28:25
the importance of music and how that heightens emotion.
1:28:28
There's a distance from Zulu Dawn in here.
1:28:30
You know, it's just, yeah, it's just got that that gravitas to
1:28:34
it where it's just so, so big and it's so evocative when it's
1:28:38
placed in the right context of the film.
1:28:40
To be fair, a lot of it's right on the nose.
1:28:43
But I think he wants it to be, and I think it's a soundtrack
1:28:45
designed to be watched, if that makes sense.
1:28:47
Not listen to. Yeah, yeah.
1:28:50
I think Tyranny was a master. It's selecting soundtracks for
1:28:52
his films and it's no different. Yeah, you often go over the
1:28:55
musical theme, like the surf music and Pulp Fiction and here
1:28:58
the spaghetti western stuff. I think it works brilliantly.
1:29:01
It gives the film this slightly off kilter tone compared to what
1:29:04
you normally get in the war film, but never undermines the
1:29:06
seriousness of the subject matter.
1:29:08
There's lots of any Omar Corny in there. 8 tracks from films
1:29:12
like Revolver, The Return of Ringo, which isn't about The
1:29:15
Beatles, sadly. Get help in there.
1:29:21
The Battle of Algiers. Death rides a horse.
1:29:23
It's all super, obviously, but there's two standouts for me.
1:29:26
One is called Rabaya E Tarantella, which is from a
1:29:28
historical drama called Alon Sanfan.
1:29:31
It plays over the end credits. We played it at the start of
1:29:33
this episode. I think it's brilliant.
1:29:35
Yeah. And also the verdict that's from
1:29:37
a Western called The Big Gun Down.
1:29:39
We hear it at the start when we get that wide shot of Lander's
1:29:41
car approaching the farmhouse. What's interesting is that in
1:29:44
that piece, Morricone samples fairly say by Beethoven, very
1:29:53
famous piece. So we've got Germany's most
1:29:55
legendary composer accompanying the Nazis arrival into the film,
1:29:59
which obviously isn't a coincidence on Tarantino's part.
1:30:02
And there's also music from Dimitri Thiomkin, Lalo Schiffer
1:30:05
and Giorgio Moroder. Charles Bernstein.
1:30:07
Elma Bernstein. I mean, you can't really go
1:30:09
wrong, can you? I'm just going to get all the
1:30:11
best composers in there, a great collection of music from
1:30:14
Tarantino and I can imagine him having a great time pulling it
1:30:17
together. Yeah, I mean everything you guys
1:30:20
have said, but I just want to talk about that one time he
1:30:23
drops in a more contemporary song with Boy and Putting on
1:30:25
Fire, because I think that's an incredible choice and I think
1:30:28
it's all the more effective for being the only time he puts in
1:30:31
like a pop song from a different time.
1:30:33
Please, like overload the film.
1:30:45
I think he actually shows a bit of restraint and you know the
1:30:48
lyrics of the fit the scene obviously, which is Shoshanna
1:30:50
put in a plan in operation to burn down the cinema.
1:30:53
But it's just leaf. It's with some of the most
1:30:55
striking imagery I think you get in the entire film, just her in
1:30:58
that red dress pulling down the black veil down across the face
1:31:01
really slowly like. And I think this is the moment
1:31:04
to say to you, she knows she's not getting out of this, but
1:31:07
she's OK with that as long as the plan comes off.
1:31:09
And I think the music just hits that point home really well.
1:31:11
Like there's this whole determination and emotion to the
1:31:14
scene that this song carries with it.
1:31:16
So it's definitely one of his best uses of a song.
1:31:20
Yeah, yeah. I mean, you can't go wrong with
1:31:21
Bowie either, can you? Morricone, Beethoven and Bowie.
1:31:25
All right, then what? Would you get in there?
1:31:30
Pipes of peace. Now you're done.
1:31:33
Temporary secretary, but yeah, putting out fire is originally
1:31:37
from Cap People, 1982 Horror and the musical supervisor on the
1:31:40
Glorious Basterds, Mary Ramos said.
1:31:42
When he first showed me how he was using that song, Quentin
1:31:45
grinned like you wouldn't believe.
1:31:47
He was so proud of the way it worked.
1:31:49
I can easily believe it. To be honest, I.
1:31:51
Can believe it. Please, with himself, Tarantino
1:31:53
never. High Five and Lawrence Bender.
1:31:57
One original music for Inglorious Bastards.
1:31:59
So it was never considered for any awards, of course, but one
1:32:01
of QT's most memorable soundtracks.
1:32:04
Yeah, one I'd never listened to by itself, but went with the
1:32:07
film. It's it's Immaculate.
1:32:10
We've waxed lyrical about the visuals throughout this episode,
1:32:13
and now we're going to go into more detail as we talk.
1:32:15
Robert Richardson is the Director of Photography.
1:32:19
Prior to this, Richardson had been DP on Platoon, Wall Street,
1:32:22
born on the 4th of July and JFK for Oliver Stone, A Few Good Men
1:32:26
for Rob Reiner and Casino and bringing out the dead for Martin
1:32:29
Scorsese. And he'd shot both volumes of
1:32:32
Kill Bill. Yes, this guy knows what he's
1:32:34
doing. Then Matt?
1:32:35
Yes, he does. Just think everything feels so
1:32:38
cinematic with this, You know, Certainly if you look at Tom
1:32:41
Tino's Fest 2 films, so much of those just take place in rooms
1:32:45
of one kind of another, the quite small scale, and that's
1:32:49
what he wants. But he, he wants to be big.
1:32:50
He wants it to be opened up. And I think Richardson has a lot
1:32:53
to do with that. I think there's some incredible
1:32:55
imagery in here. I'll talk about it a bit more at
1:32:57
the end. But when the cinema's burning
1:32:59
down and you have Shoshana's face projected through the
1:33:01
flames and through the smoke, that's just astonishing.
1:33:04
Yeah. And I think there's some really
1:33:06
clever camera movement from Richardson that opening with La
1:33:09
Padit. When that camera moves, it moves
1:33:11
because it's Shawnee who has the power in that situation and
1:33:14
who's controlling the conversations that pan from La
1:33:17
Padit to Landa that puts you on edge because the cameras on move
1:33:20
like that so far in the film. So you know it's moving for
1:33:23
purpose and you know, because of the scene, it's not a good
1:33:25
purpose. And then to cut to those big
1:33:27
close-ups of Lander and then lapidate to sweating because he
1:33:31
knows he's being caught. Just that's great storytelling,
1:33:35
just with the camera movement and just with the with the short
1:33:37
choice. Yeah, it's great work by
1:33:39
Richardson. Yeah, I agree.
1:33:40
I mean, like we've been saying, Tarantino always has a vision,
1:33:43
whether it's the tone or the music.
1:33:45
He always knows what he wants to go for and then surround himself
1:33:47
with the right people to do that With the visuals, it seems to me
1:33:50
to be very classically shot, to the point where it reminds me of
1:33:53
like 40s and 50s Hollywood sometimes and Robert Richardson
1:33:57
with his background we just mentioned.
1:33:58
It's pretty perfect to capture like a classic style.
1:34:01
There's loads of wide establishing shots which are
1:34:04
reminiscent of John Ford to me. Lots of crane and Dolly work
1:34:07
like we talked about. If there are any more modern
1:34:10
style Steadicam shots at all in the film then it's not many.
1:34:13
And I guess that's all done to reflect the time period, how the
1:34:15
film might have been shot had it been made in the 40s or 50s, but
1:34:19
it still feels modern. Shots like the one in the
1:34:21
opening that tracks down lap at each leg under the floorboards
1:34:24
to the hiding Dreyfusses, or the kind of bird's eye tracking shot
1:34:27
we get in the climax to follow Shore shine around part of the
1:34:29
cinema. They're classic, but still have
1:34:31
that Tarantino edge to me. And Robert Richardson.
1:34:34
I mean, QT has brought him back for every one of his films since
1:34:37
this one, which sees it all. One of his best collaborations,
1:34:40
I think. Yeah, I mean there's that
1:34:42
overhead shot that mirrors shows on at the end, which is also
1:34:45
land at the start. Yeah, he's got the other hand.
1:34:48
So it is a lot of mirrors and a lot of comparisons and a lot of,
1:34:51
Yeah, like I've said before and like you guys have said, it's
1:34:52
very classic and it's light and it's very classic and it's look,
1:34:55
some of it looks lit. A lot of it.
1:34:57
You wouldn't say, oh that's natural light.
1:34:59
You know, a lot of that looks like they've brought in these
1:35:00
big, big units from like like they used to shoot it on big
1:35:03
stages and it does have that kind of grandeur and that feel
1:35:06
to it. But the fact that he's worked
1:35:07
with him ever since, and I think this is the first film where
1:35:11
he's just kind of went, look, I've, I've won an Oscar for JFK.
1:35:13
Do you want to just listen to what I'm saying and slow down a
1:35:17
little bit? Just went, yeah, OK, let's do
1:35:19
that then. What did you do that I feel well
1:35:20
with the dialogue sequences like this.
1:35:22
And he's like, all right, OK, right.
1:35:23
And, you know, it's all about the framing of this.
1:35:25
It's all about the position of it.
1:35:26
And like I said, I think this is just a really, really great
1:35:29
collaboration. I think Richardson is the only
1:35:31
one who could shoot to this scale for Tarantino and deliver
1:35:35
to this level and not take you away from the story because that
1:35:38
would be so easy to do. And a lot of it's very
1:35:40
stylistic. I mean, there's the table light
1:35:42
that Richardson uses all the time, which is most evident on
1:35:45
the on the opening sequence, which is just one bare light
1:35:48
above the table. And he bounced that straight
1:35:50
down and light the whole scene with it.
1:35:51
So the middle of the tables were super bright, but everyone's lit
1:35:54
from that light, which is bounces around the room.
1:35:57
So he does bring that freedom so Tarantino can direct, so people
1:36:00
can act. So yeah, like I said, as a
1:36:01
collaboration, it's absolutely fantastic.
1:36:04
Yeah, there's a scale here which isn't really there on his first
1:36:06
three films. No, definitely not.
1:36:08
There's a depth, like I've said before, like a real weight to
1:36:10
it. Well, Richardson calls Tarantino
1:36:13
A purest but said that he likes wide angle lenses and scented
1:36:16
framing, which is more contemporary.
1:36:18
And he said that he and Tarantino would have little
1:36:20
battles about where to put the camera and Richardson would
1:36:22
choose one side or the other. W Tarantino likes dead centre
1:36:25
framing. Yeah.
1:36:27
Yeah, I read an interview with Robert Richardson where he said
1:36:30
that Tarantino's love of all techniques and also wide lenses
1:36:33
and centre framing are the things that make him unique as a
1:36:35
filmmaker. One of many things, to be fair,
1:36:38
I think. Yeah, OK.
1:36:41
Yeah, and Richardson's camera system was Gregor Taverner, and
1:36:44
he said that Tarantino gets rid of the video village that you
1:36:46
find on most modern movie sets. He said the only video monitor
1:36:50
on set is the small one on the camera.
1:36:52
And he said that Duran takes Tarantino, sits next to the
1:36:54
camera. So you can see that monitor and
1:36:56
if there's a Dolly move, he goes along for the ride and he always
1:36:59
checks. The framing, yeah.
1:37:01
The more they hear about Tarantino on set, the more you
1:37:03
realise this kind of discourse. You often hear about him being a
1:37:06
hack or rip off merchant. It's just total nonsense.
1:37:09
He's a massive talent. To me, absolutely.
1:37:11
And Taverner also said that Tarantino likes to shoot with a
1:37:14
single camera rather than the modern trend which is to use 2
1:37:17
camera setups. And he said that the camera
1:37:19
rolls was many takes as necessary until Tarantino was
1:37:21
happy. He said it is a joy and a
1:37:23
pleasure. Nice, yeah.
1:37:26
So in a dialogue scene, whenever there's a cut to a different
1:37:28
angle or something, what often watching a different take.
1:37:31
And Richardson said it was a challenge.
1:37:32
But in his words, pressure makes diamonds, which is a great.
1:37:35
Line or Hudson? Great line.
1:37:36
Surprised. Tarantino wasn't used it before.
1:37:38
But that's how Nolan works as well.
1:37:40
But that also means that the the actors who aren't, in short,
1:37:43
still have to give an incredible performance.
1:37:46
It's not being recorded, so they have to work twice as hard.
1:37:48
So it's very organic. I think that's his whole
1:37:50
process. Yeah, very much.
1:37:52
For his work on inglorious pastors, Robert Richardson was
1:37:54
nominated for Best Cinematography at the Oscars.
1:37:57
He lost out to do you know who? Whoever did The Hurt Locker.
1:38:02
It wasn't The Hurt Locker this time.
1:38:03
It was Maru Fiori for Avatar. All right.
1:38:07
Well, that makes sense. There was some of that.
1:38:09
Great people worked on the film to Sally Menke.
1:38:12
Tarantino's longtime editor was also Oscar nominated and sadly
1:38:15
passed away in 2010. So this was the last time she
1:38:18
worked with QT. Haven't been with him since the
1:38:20
start. Reservoir Dogs.
1:38:22
Yeah, it is sad. And throughout film, at the end
1:38:24
of each take, the actors would turn to the camera and say hello
1:38:27
Sally in this footage and most of those takes, which you can
1:38:30
find online, which is a nice tribute, I think, yeah.
1:38:33
Some of her needle drops in the film are Superb Slaughter by
1:38:37
Billy Preston and La Luzian. That is outrageous also, and
1:38:47
I'll be shot by this costume designer and David Wasco as
1:38:49
production designer provide fantastic work.
1:38:52
So in all those names, Robert Richardson, Sally Menke and Yo
1:38:55
Morricone and the many other composers on the film, some huge
1:38:58
challenge on Inglorious Basterds.
1:39:01
Yep, and you can see them all. To be fair, they all shine.
1:39:07
The end. The final act of Inglorious
1:39:12
Bastards is where Tarantino's fantasy version of history
1:39:14
really comes into play, and we're going in on all of it.
1:39:18
The destruction of the cinema, death of Hitler and the movies
1:39:21
den you more are all being discussed, but before we do
1:39:24
that, there's some major character exits to talk about.
1:39:28
All of our characters come together and show Shine as
1:39:30
cinema as a narrative climaxes. But things don't go to plan.
1:39:34
Firstly, on uncovering her as a spy, Landa strangles Bridget to
1:39:37
death and then show Shana meet her fate when she and Zola shoot
1:39:40
each other in the projector room.
1:39:43
The ladies making pretty brutal exits.
1:39:45
Matt, what do you make of it all?
1:39:47
Well, we've already seen Fastbender introduced and then
1:39:50
pretty quickly killed off. So you know, no one's safe in
1:39:52
this. So that scene when Landa gets to
1:39:56
Bridget and takes her in his room, and we know that Landa
1:40:00
knows that Bridget was in the cellar, you know it's not going
1:40:02
to end well for her. And it's a real shame, because I
1:40:04
like the character lot. I think Krug was excellent.
1:40:07
But what's interesting is that this is the most violent we ever
1:40:10
see. Lander, he's normally just
1:40:12
dispatching other people to do the killing, not doing it
1:40:14
himself. But here he knows the Bridget is
1:40:17
a spy and he's going to kill her, but he doesn't take a gun
1:40:20
with him. He kills it in this really
1:40:22
horrible physical way. Like he makes her feel every
1:40:26
little bit of pain as he strangles her.
1:40:27
And it's terrific to watch because up until now he's been
1:40:31
this small, charming character if you never feel as much, of a
1:40:36
physical threat. So it's a real shock where he
1:40:39
just dives out of that chair and launches himself, Andre.
1:40:43
And it's really tough to watch a being strangled like that.
1:40:46
And then obviously there's been a Tarantino film.
1:40:48
You get a shot of a feet in there as well.
1:40:50
Of course. What do you do?
1:40:53
Yeah, the scene where the bastards are talking Italian to
1:40:55
Landa comes right before this one.
1:40:57
And I've already talked about how I think it undermines the
1:40:59
tone of the film, but not even that can lighten the mood here,
1:41:02
because the death of Bridget is horrific.
1:41:05
Yeah, I think Diane Kruger is fantastic.
1:41:07
Like I said, though, with her death I know there wasn't
1:41:09
actually much acting required because Diane Kruger was choked
1:41:12
for real. Do you know about this?
1:41:15
Yeah. Tarantino, wasn't it?
1:41:18
Yeah. So apparently Tarantino always
1:41:20
thought choking scenes in the films looked fake, so he spoke
1:41:23
to Kruger and convinced her to be actually strangled.
1:41:25
Not by Christophe Walzo. By Tarantino himself.
1:41:29
Yeah, I saw an interview with QT where he said what I said to her
1:41:32
was, I'm just going to strangle you, all right?
1:41:34
Full on. I'm going to cut off your air
1:41:36
for just a little bit of time. We're going to see the reaction
1:41:38
in your face, and I'm going to yell cut, OK?
1:41:41
And Kruger agrees and apparently lost consciousness for a few
1:41:45
seconds. No way.
1:41:45
I mean, that's too far, surely? Yeah.
1:41:48
Yeah, why You just give her a foot massage.
1:41:52
Yeah, exactly. Well, she should have said the
1:41:53
QT. Did you wear Bomb Vingly with
1:41:55
For Real and Pulp Fiction to get his reaction?
1:41:58
No. Funny that you can't strangle me
1:42:00
then. He might don't.
1:42:01
He might have been, you know, he might have been The GIMP.
1:42:05
Who knows what QT? Yeah, and Bridget.
1:42:08
She was loosely based on Marlene Dietrich, who was the biggest
1:42:11
German movie saw in the world back then in the 30s.
1:42:13
Dietrich was never a spy for the Allies like Bridget is here.
1:42:16
But she did work with the USS and she recorded some songs in
1:42:20
German reporting Allied victories, and that was done
1:42:22
with the intention of demoralizing German soldiers.
1:42:25
And she was awarded the American Medal of Freedom after the war
1:42:27
for that. Nice, yeah.
1:42:29
Also was the war was coming to an end.
1:42:31
Dietrich went back to Germany, as she'd heard that her sister
1:42:33
Lyzel was being held in Bergen Belsen, the concentration camp.
1:42:37
When she got there, though, she found Lisa wasn't in the camp.
1:42:40
She and her husband were running a cinema which will be visited
1:42:42
by Nazi officers. So an inspiration for sure.
1:42:45
Shana maybe? And.
1:42:48
Then, before Diane Kruger was cast, Tarantino actually
1:42:51
approached Natasha Kinsky, who'd start in Paris, TX to play
1:42:54
Bridget, and he met her in Germany.
1:42:56
But they couldn't come to a deal to get her in the film, which is
1:42:59
when he then turned to Diane Kruger.
1:43:01
Nice. Yeah, Diane Kruger's German.
1:43:03
But because she was most well known for films like Troy, Your
1:43:06
National Treasure, Tarantino apparently thought she was
1:43:08
American, which put him off casting her.
1:43:10
So when she auditioned and spoke like perfect German, he was
1:43:13
blown away. Great character.
1:43:15
Great performance for me, yeah. Yeah, I love her.
1:43:17
Well, this scene taps into what I mentioned earlier and there's
1:43:20
a Westie theory. Oh lovely.
1:43:23
So Susanna and Zola kill each other.
1:43:26
Now all the way through the film we have this character of Zola
1:43:30
and we don't like him. Not only don't I like him, I
1:43:33
don't believe him. I don't believe that he shot all
1:43:35
these people. I don't believe that he's a war
1:43:37
hero. I believe he's a young jumped up
1:43:39
actor who gibbles is put in there and he's training to make
1:43:43
him into this superstar and then to put him into politics as he
1:43:46
says over the dinner table and he's just playing a role.
1:43:50
This is where it becomes evident to me.
1:43:53
So he's trying to force his when he's trying to use his his fame
1:43:56
and his acting pro W to just put it something in front of he's
1:43:59
not a believable killer. For a start, this character, he
1:44:02
hasn't killed 250 Americans over the course of three days.
1:44:05
They would have blown that bell tower away, which is why
1:44:07
Tarantino says we've got to destroy that tower and it's
1:44:09
never answered. So that's also undercut in
1:44:12
there. Why wouldn't it just roll in
1:44:13
with tanks and blow them away? Doesn't seem believable to me.
1:44:16
The killing actually takes place in the bird in a bird's nest.
1:44:20
It's above the audience. It's in the projection room
1:44:23
where he would have been. So it's metaphorically a bird's
1:44:26
nest where that where that does happen, he turns his back on a
1:44:29
she shoots him, he turned and then he's basically just
1:44:32
nothing. He doesn't react to that.
1:44:33
He's just not strong enough to do that.
1:44:35
She walks over because she feels sorry for him.
1:44:37
He turns around, shoots her a close range.
1:44:39
Now it's at this point because the shoots hit the beat of the
1:44:41
music and you turn around and you get this incredible close up
1:44:44
of him and you think it's just a crime of passion.
1:44:46
It looks like it's the first time he's killed anybody and not
1:44:49
going to spot and then he when he goes to shoot her again, we
1:44:52
have got one. He's got one shot at close range
1:44:55
and his hand is shaken on that gun and he's just like, yeah, if
1:44:59
he doesn't know what to do. And the last shot is not a kill
1:45:02
shot, it's just another shot to the chest.
1:45:03
It's just stupid. It's just amateur.
1:45:06
If he was a sniper and he killed 250 people, he could shoot her
1:45:08
and kill her with a headshot with a Luger at the end.
1:45:11
But doesn't. It's just very, very sloppy.
1:45:13
It's all over the place. And then he just drops his gun
1:45:16
and he's just dies. This, if you that he's got no
1:45:18
resolve whatsoever, the resolve to sit in a bell tower with no
1:45:21
food or water for three days, it's absolute shite.
1:45:25
So I think that his character is the whole back story of that is
1:45:29
just again, German propaganda and we've bought into it as an
1:45:32
audience, as the Germans would have bought into it as the
1:45:35
audience would have bought into it.
1:45:36
And I think that's what he was trying to say.
1:45:39
Not sure if anyone else has touched on that.
1:45:40
Not sure if that's plausible or not, but in my head it kind of
1:45:43
works. I think that's lovely though.
1:45:45
I think it works, yeah. I mean, Joseph Gables was the
1:45:48
Nazi Minister of Propaganda, so? Yeah, so I think that whole
1:45:51
character is a big red Heron and it's a big fuck you to us as an
1:45:55
audience in Dubai and into how powerful cinema is within the
1:45:58
film. Yeah, I mean this part of the
1:46:01
story, it's we're still having some problems to be honest.
1:46:04
Not with the filmmaking. I mean Lauren and Brule are
1:46:06
excellent. The use of Unamiko by Morricone
1:46:08
is they shoot each other. That works great.
1:46:10
But slow motion close up of Marcel Cigarette as he spinning
1:46:13
towards the pilot. Fantastic.
1:46:16
But in terms of storytelling, I think Tarantino makes some not
1:46:19
great choices here. First off, I've mentioned it
1:46:22
killing Shoshanna. I find it unsatisfying to end
1:46:25
her story the way he does. Dying for revenge And it didn't
1:46:29
have to be like that. You set it all up, I think, to
1:46:31
be fantastic. So this is my ending.
1:46:35
Here we go. The arrogance to correct
1:46:37
Tarantino. God, I hope he listens to this.
1:46:42
No, you won't be the first. You won't be the first.
1:46:44
Just to be clear, I don't think I'm better than Tarantino.
1:46:48
I think he's incredible. I mean all of the things you can
1:46:50
do. I just wish he'd done a couple
1:46:52
of things differently here. So this is what I wish he'd
1:46:54
done. All right, so going into the
1:46:56
climax, we've got two separate plot threads.
1:46:58
Shoshanna and Marcel's plot to burn down the cinema, and the
1:47:01
Bastards plot to blow up the cinema.
1:47:03
Typically, in any story, the plot threads come together in
1:47:05
the climax. Tarantino doesn't do that here,
1:47:08
to the point where Shoshanna and the bastards don't even know
1:47:10
each other exists. He's done it on purpose,
1:47:12
obviously, but I think it's a mistake.
1:47:15
It could have happened where Zola comes to the projector
1:47:17
room, Shoshanna tells him to get lost, and Zola goes mad like we
1:47:20
do get. He's on the verge of assaulting
1:47:22
Shoshanna when bang, Bang Bang, he gets shot.
1:47:25
But it's not by Shoshanna, it's by Marcel.
1:47:28
It's Marcel who then shows compassion for Zola and Marcel
1:47:31
who gets shot by Zola. Shoshanna then finishes Hola
1:47:34
off. Marcel dies into Yoshana's arms.
1:47:36
Really sad. The plan screwed, but Yoshana is
1:47:39
very much alive. At the same time, Bridget's
1:47:42
murdered by Landa, ruining the Bastards plan, so they have to
1:47:45
come together. Shoshanna and the Bastards have
1:47:47
to join forces and combine their plans to destroy the cinema.
1:47:50
We still get Shoshanna's film. We still get Landa making a deal
1:47:53
with the allies, but Shoshanna joins Aldo.
1:47:55
She essentially becomes one of the bastards.
1:47:58
I mean, that's all a much more typical way of doing it, and
1:48:00
Tarantino has avoided that intentionally, but I think it's
1:48:02
the detriment of the story, which could have been really
1:48:05
powerful if he brought it all together like you normally would
1:48:07
do. If you're not convinced, wait
1:48:09
till we get to the final scene. Right, OK.
1:48:13
Well, that Nazi propaganda film we're talking about, that's
1:48:15
called Nation's Pride. And the parts of it that we see,
1:48:18
they were actually directed by Eli Roth.
1:48:20
Yeah, in Tarantino had asked him to do it in.
1:48:23
Roth brought in his brother Gabriel to direct behind a
1:48:25
second camera, and the instructions they got from
1:48:28
Tarantino were He didn't want to cohere, in short, as it was
1:48:31
meant to feel like snippets from a feature film.
1:48:34
But he was so pleased with what they did in the two days he'd
1:48:36
allocated to them. He then gave them a third day to
1:48:38
do some more shooting. Nice.
1:48:40
Yeah, it does look great on the screen, the film, I think.
1:48:43
And we do finally hear a couple of Wilhelm Screams and Nation's
1:48:46
Pride. As we do, yes.
1:48:48
Yeah, sure. Shannah's revenge speech is
1:48:50
delivered in English. In the script, she spoke German,
1:48:53
but Melanie Neuron suggested she speak English.
1:48:55
So some of the Germans can't understand her before they die,
1:48:57
like her family couldn't understand Landa before they
1:49:00
died, which I think is a really good touch.
1:49:02
And I also think it's a really good touch that it mirrors that
1:49:04
shot of Zola in Nation's Pride and it's a lit the same, and it
1:49:07
shot the same from the same angle.
1:49:09
Yeah, that shot of it on the screen, like the face of Jewish
1:49:12
vengeance with the Flames. It's just brilliant.
1:49:14
It's so cinematic. It's Metropolis, isn't it as
1:49:17
well though? Oh yeah, it's influenced by
1:49:18
that, I think, very much. Yeah, yeah.
1:49:20
The ladies of the piece are gone.
1:49:21
Then let's see how it all goes for the bastards.
1:49:24
Should we? Yeah, Yep.
1:49:26
And then rewrite it. While this is all going on, the
1:49:31
bastards are off having some fun of their own.
1:49:33
Donny and Omar alter their plans when they spot the Fuhrer and go
1:49:37
after him with machine guns. At the same time I captured Aldo
1:49:40
cuts a deal in more ways than one with Landa.
1:49:44
Every once in a while, Matt Fade reaches out and extends its
1:49:47
hand. Well, I think if you listen
1:49:50
carefully you can hear the sound of every historians head in the
1:49:53
world exploring. When you watch this.
1:49:57
Like it as the scene plays out. Like, honestly, I've seen this
1:50:01
film so many Times Now, I still don't know what to make of the
1:50:05
scene. I mean, it's ballsy, It's
1:50:08
absolutely mental. I just don't know if it's right,
1:50:11
because you've got that incredible imagery of
1:50:13
Shoshanna's projected face laughing through the fire and
1:50:16
the smog. Yeah, that's amazing.
1:50:18
Yeah. Taunt.
1:50:19
And those gems about Dewey's Revenge?
1:50:21
Amazing. But then you get like, Hitler
1:50:23
getting blown away. And don't get me wrong, who
1:50:26
doesn't like seeing Hitler get riddled full of bullets?
1:50:29
Yeah, but that's the most cartoonish thing the film does,
1:50:32
and it borders on being played for laughs, and it kind of
1:50:36
reduces Hitler to a joke in a cartoon body.
1:50:39
And I'm just not sure about that juxtaposition with what
1:50:42
Shoshanna is saying because that's very serious.
1:50:45
And I don't think that juxtaposition works.
1:50:47
I mean, obviously it's not the last time Tom Tina's going to
1:50:50
rewrite history for his own ends, but I think Once Upon a
1:50:53
time in Hollywood, I think he pulls it off so much better.
1:50:55
So yeah, it's like I admire it for where it goes because it
1:50:59
goes somewhere you would never expect and no one else would
1:51:01
even attempt to do this. But honestly, I'm just really
1:51:04
not sure on it still. Yeah, the whole fantasy ending
1:51:08
of the bastards gunning down gurbles and Hitler.
1:51:11
It doesn't work for me, to be honest.
1:51:13
I mean, I'm all for some alternative history, but this is
1:51:15
a big subject matter. To change doesn't mean you can't
1:51:18
do it, but the fact that it's all undermined by the huge last
1:51:21
we've been having in the foyer a few minutes earlier just means I
1:51:24
don't buy the bastards killing Hitler at all.
1:51:26
I feel nothing when it happens. I mean, it's all very well
1:51:29
pulled off by Tarantino, the external shot of the cinema
1:51:31
blowing up, it's brilliant, but the narrative that revolves
1:51:34
around the bastards, it's kind of lost me, to be honest.
1:51:37
I mean, that said, I am still enjoying it, which I think shows
1:51:40
I'm engaging the writings being up to this point, but I don't
1:51:43
like that as a creative choice by Tarantino.
1:51:46
Yeah, I think the whole sequence is a bit skewed.
1:51:48
I don't think Marcel should be allowed just to walk around and
1:51:51
lock doors and steal things up. And yeah, if the furor was
1:51:55
there, there would just be so many more thousands and
1:51:58
thousands of troops there. You wouldn't get near me, you
1:52:00
wouldn't. Get near nowhere near the
1:52:01
cinema, everyone there. We felt you wouldn't have
1:52:03
dynamite Strap your fucking leg, that's for sure.
1:52:06
You know, at least you research for the check, you pay the
1:52:08
checking people's papers on the street and that just let these
1:52:10
people walk in and you just think, well, how you know, how
1:52:12
realistic do you want to make this?
1:52:13
But at that point, it's just it just turns into a cartoon as
1:52:17
soon as they walk into that. The whole premiere is almost
1:52:19
like a tree. It's like Who framed Roger
1:52:20
Rabbit all of a sudden? It's got that vibe to it, isn't
1:52:24
it? But it's just anything goes and.
1:52:26
I know that film in that scene where Donny and Omar are in the
1:52:29
theatres, it's burning down. That was very dangerous for the
1:52:31
actors and obviously that's Eli Roth.
1:52:33
And Omar was played by someone called Omar.
1:52:35
Omar Doom, which is a great name by the way, because you intest
1:52:39
the flame temperatures were 750°.
1:52:42
But when it came to filming, the fire got out of control and went
1:52:45
up to 2000. Jesus.
1:52:47
Which is obviously much hotter than Roth and Doom were
1:52:49
expected, but the both knew the only had one take to get it, and
1:52:52
neither of them left the take until Tarantino, Charlotte Court
1:52:56
and the both ended up being treated for minor burns in
1:52:58
hospital. You kind of see that, though,
1:53:00
when he's changing magazines in the night, he's like.
1:53:02
Yeah, yeah, yeah, it probably was real.
1:53:04
Yeah. Yeah.
1:53:05
It was a fire Marshall on the set and he said that if they
1:53:07
shot for another 15 seconds, the structure would have collapsed
1:53:09
and both Roth and Doom would have been incinerated.
1:53:12
Jesus, Eli Roth would do anything for QT, wouldn't he?
1:53:16
What? He didn't care.
1:53:20
It was worth it just to get that Scarface reference from Doom,
1:53:22
isn't it? Yeah, yeah, yeah.
1:53:25
Burn me, Quentin. Yeah, I mean, I keep forgetting
1:53:27
how ridiculously bonkers that ending is.
1:53:30
It's just ludicrously loud. Ludicrously fast.
1:53:35
Did everything just fucking blow?
1:53:36
The whole thing blows up and Kurt Russell screaming.
1:53:39
It's just like, And then it just, you've got this.
1:53:42
The calmness of they're just the truck gets pulled over, Landa
1:53:46
comes out and he's dressed to the nines and he's all sorted
1:53:49
and he's new your way, your prisoners, and we've
1:53:50
surrendered. And he's almost like doing a
1:53:52
little dance with it. And it just seems to me like
1:53:54
it's just tacked on a little bit.
1:53:57
It's really, really worth it for that final, you know, the
1:54:00
Tarantino trunk shot, which we've seen with it when he did
1:54:02
with Eli Roth And he said you're getting quite good at this, the
1:54:04
Carnegie whole thing. But what you see that it wasn't
1:54:06
that good. That's what stick I wasn't.
1:54:08
I mean I'm not next, but I'm drawing them.
1:54:13
The bottom line was a bit skew away for it.
1:54:15
But this one, he's got it absolutely spot on because you
1:54:17
see him doing it. I mean that's really cringe and
1:54:20
juice and that's like, ah, but it's beautifully done the way
1:54:22
kind of carving that into his head.
1:54:24
You know, this may just be my masterpiece, and that is just
1:54:27
right on the nose. That's Tarantino talking
1:54:29
straight of the audience going, I don't give a fuck what you've
1:54:32
what you think about what you've just seen.
1:54:34
I think it's a masterpiece. Bang, written and read by
1:54:37
Quentin Tarantino. There you go.
1:54:39
Yeah, apparently in real life, lots of Nazi officers, some
1:54:42
successfully, some not trying to cut deals with the Allies in the
1:54:45
final kind of throws of the Axis.
1:54:47
So Landa doing that, Yeah. Is rooted in reality, which I
1:54:49
like. But BJ Novak, who plays Rudovic?
1:54:53
Ludovic here, so yeah. One question why?
1:54:57
We've not seen him since Aldo's. The German will fear our speech
1:55:00
2 hours ago, and even then all he said was yes Sir, what is he
1:55:03
doing in the final scene? Not just the final scene, the
1:55:06
final shot. It's a crazy choice from QT for
1:55:10
me, who'd have just done nothing to deserve this treatment.
1:55:13
It will begin the power of the ending for me.
1:55:14
Literally any other character in that finale will be better.
1:55:18
So where are the Where's the other bastards?
1:55:19
Then where's everyone else? Yeah, well, they're all dead, I
1:55:22
assume, on there. Well, you assume that's the
1:55:24
whole point, which doesn't make sense.
1:55:25
And you're right. It's absolutely really, it's
1:55:27
like Novak's just being like really good mates with QT the
1:55:29
night before. He's out drunk him and just lost
1:55:31
the best. And he told you he was like,
1:55:33
right, you go in there. Maybe he got Tarantino drunk.
1:55:36
She was a little for the same. Yeah, it must have been.
1:55:38
It's the only explanation. But after what I said earlier,
1:55:41
so Shoshanna and the bastards have came together.
1:55:43
Ideally they've combined their plans, blown up the cinema
1:55:46
together. So this final scene to me
1:55:48
shouldn't be between Aldo Landa and Udovich.
1:55:50
Forget Udovich, it should be Aldo, Landa and Shoshanna.
1:55:54
She's now one of the bastards, which gives her character a huge
1:55:56
arc. And Aldo's like, I guess you're
1:55:58
one of us now then, or something.
1:56:00
Give us a knife to Shoshana. And it's Shoshana who cut the
1:56:03
Swasta guy in the Landa's head. Payback time and that final
1:56:06
shot, that classic low angle Tarantino POV isn't Aldo
1:56:09
Ludovic. It's Aldo and Shoshana.
1:56:11
Composition of her arc. Massive final shot.
1:56:14
Resolution of her story with Landa, Aldo says.
1:56:17
I think this might just be our masterpiece.
1:56:18
Boom, Fade to black. Play Morricone, See you at the
1:56:20
Oscars. Instead we get Outovich.
1:56:24
All week I've been thinking about why Tarantino made that
1:56:26
choice of getting Outovic in there, and honestly, the only
1:56:28
reason I can think of is that he did it to piss me off.
1:56:34
It could have been massive. It could have been his
1:56:36
masterpiece. That's why I did it, OK.
1:56:41
All right. All right.
1:56:42
That's why I did it. All right, John, from all the
1:56:45
right movies, All right. And Matt, what do you think?
1:56:51
Have you rewritten the ending? I just love your ending, John.
1:56:54
It makes so much more sense. I mean obviously just everything
1:56:58
both you guys said is what I feel about this ending beads.
1:57:00
You know, if I could me, I think a lot of people that you just
1:57:03
got. That's Ryan from the office.
1:57:04
Why is he there? I know.
1:57:06
Come all of a sudden. Just a funny guy like him in the
1:57:09
office. But he's not a bastard, is he?
1:57:11
You don't look him, guy. He puts the the shits up the
1:57:14
Nazis, doesn't he? The little man.
1:57:16
Little man. That's the only good line in the
1:57:17
film that he's got. When he's like they call me the
1:57:19
little man. Yeah, yeah.
1:57:21
That's it. So yeah, the end.
1:57:23
And it does sum up a lot of the problems for me.
1:57:25
It does sum up you know where this could and probably should
1:57:27
have gone. But then, typical Tarantino.
1:57:30
This might be my masterpiece. Credits.
1:57:32
Yeah, as we've said, BJ Nova plays Yutovich and he was most
1:57:36
well known for appearing in the US version of The Office is
1:57:38
Ryan. They were shooting the office at
1:57:40
the time and his character as absence was explained by saying
1:57:42
he went to Thailand with a bunch of high school students.
1:57:45
Yeah. Let them go and do it and come
1:57:48
back. BJ Novak is great and I do love
1:57:51
the guy and I think he's great in The Office, but he's not that
1:57:53
good of an actor. No, he's not.
1:57:55
He's not a good enough actor to be in the final scene of a
1:57:57
Quentin Tarantino film. No, no, no.
1:58:01
And actually in a later episode of The Office, Michael Scott
1:58:03
that Steve Carell refers to Ryan as the Little Man, which is the
1:58:06
nickname the Natalie Odovich. Oh, nice.
1:58:09
Well, Tarantino, he had the actors playing the bastards.
1:58:12
He made them go through a day of scalping training in
1:58:14
preparation. He told them that the three best
1:58:17
scalpers would be rewarded with close-ups of them doing that in
1:58:20
the film, and one of them was BJ Norvac, which is why we get that
1:58:23
shot of him, Scalp and Landers Driver at the end.
1:58:27
Yeah, the scalping. I love it.
1:58:29
And the swasting and carving? Great.
1:58:30
Those are great ideas, But not everything is a great idea in
1:58:33
this. It's the wrong people.
1:58:35
Yeah, it's the. Wrong people the.
1:58:36
Wrong people doing it. Got Steve Carell in there
1:58:38
instead. And we're at the end of
1:58:40
Inglorious Bastards. Finally they dropped from what
1:58:42
came before. For me anyway, but a lot of
1:58:44
people think it might just be Tarantino's masterpiece.
1:58:47
A lot of people do. Including him, probably.
1:58:52
Reception and award. Well, after all of that,
1:58:57
Inglorious Bastards was released in August 2009.
1:59:00
But how was it received? Well, Matt the Statia to reveal
1:59:05
all. Matt Ostado.
1:59:07
So the floor is yours, Matt. Well, it was a huge box office
1:59:11
success. On a budget of $70 million, it
1:59:14
grossed $321.5 million in total, and it was the 18th biggest hit
1:59:19
of the year. The top three of that year were
1:59:22
Ice Age, Dawn of the Dinosaurs, Harry Potter and the Half, Blood
1:59:25
Prince, and Avatar as #1. Right.
1:59:29
Of course, but those Ice Age films?
1:59:31
Huge money spin as them as well. Yeah, yeah.
1:59:34
Inglorious Basterds did pass Pulp Fiction though as
1:59:36
Tarantino's highest grossing film at the time.
1:59:39
Yeah, so massive success. On German adverts, all SWAT
1:59:42
stickers were removed or covered up as universal.
1:59:45
Weren't sure if the SWAT stickers violated German law
1:59:47
where Nazi symbols are banned except for reasons like
1:59:50
historical accuracy. And actually, I watched this
1:59:52
again last night on Netflix and they've been taken off that as
1:59:54
well. Have they really?
1:59:55
Yeah. Right.
1:59:57
Yeah. I don't think this film comes as
1:59:59
historically accurate. To be honest.
2:00:01
No, no. This is.
2:00:03
It's right up there with brave heart.
2:00:06
Yeah. I mean, at least it's
2:00:07
intentional, yeah. Yeah.
2:00:12
And moving on to the critics, we always start with Roger Ebert.
2:00:14
So Roger La Dodger. What did he think of Inglorious
2:00:17
Bastards, do you think? I'm going to go three solid 3.
2:00:21
I'll go two. I don't think he would have been
2:00:24
that keen on it. Full house from Rog. 4 stars out
2:00:27
of four. Wow.
2:00:28
OK. And he said Quentin Tarantino's
2:00:30
Inglorious Basterds is a big, bold, audacious war movie that
2:00:34
will annoy some start letters and demonstrate once again that
2:00:37
he's the real thing, a director of Quicks Audit Delights.
2:00:41
Now you love cinema, though. We should have guessed that,
2:00:42
yeah. Yeah.
2:00:44
Like this film about cinema? Yeah.
2:00:46
David Denby of The New Yorker said the film is skillfully
2:00:49
made, but it's too silly to be enjoyed even as a joke.
2:00:53
Tarantino has become an embarrassment.
2:00:56
Wow. His virtuosity is a maker of
2:00:58
images, has been overwhelmed by his anonymity as an idiot
2:01:00
dealer. Cinema tech, Not his
2:01:04
masterpiece, Then, according to Debbie.
2:01:05
OK, no. Terence Trent Denby The English
2:01:09
translation of our French phrase is cinema library idiot.
2:01:13
Wow, I want to get that on a T-shirt.
2:01:18
Brilliant. Keep watching the store, fellas.
2:01:23
And Empire magazine gave the film 4 S out of five and said
2:01:26
it's Tarantino what is most playful, endlessly quotable,
2:01:29
with brilliant writing even by his standards and great
2:01:32
performances to boot. Hell, it could be his
2:01:34
masterpiece after all. Wow, there you go.
2:01:38
Big prayers. And then on Rotten Tomatoes
2:01:41
Inglorious Basterds has a critics approval of 89% in an
2:01:44
audience approval rating of 88%. Huge.
2:01:47
Then on IMDb it has 8.4 out of 10, which puts it 69th in the
2:01:53
IMDb top 250 list. And that is one place above The
2:01:57
Dark Knight Rises and one below Aliens.
2:02:00
Which, wow, that's a triple feature and a half, isn't it?
2:02:03
Imagine watching the wood for you back-to-back, yeah?
2:02:06
You need a long weekend. A lost weekend and then at the.
2:02:10
Oscars and Glorious passages. We've talked about a 11, which
2:02:14
was Best Supporting Actor for Christoph Waltz and it was
2:02:16
nominated for seven others Best Picture, Best Director, Best
2:02:20
Original Screenplay, Best Cinematography and Best Film
2:02:23
Editing, which we've already talked about, but along with
2:02:25
that Best Sound Mixing for Michael Minkler and Best Sound
2:02:29
Editing for Wiley Statement. Not Wiley Coyote, which is a
2:02:33
shame. No.
2:02:36
So Inglorious Bastard was received pretty well in 2009.
2:02:39
Q TS biggest commercial hit to that point, largely positive
2:02:42
reviews and today still very highly thought of, critically
2:02:45
and publicly. Didn't do badly at all, did it?
2:02:48
No. No.
2:02:48
No, no sequels and influence. There were no sequels to
2:02:57
inglorious bastards there could have been if QT hadn't ended the
2:03:00
war and killed almost every character.
2:03:02
But he did any Tarantino films notable in this way, though?
2:03:06
So what is the legacy of Inglourious Bastards?
2:03:08
Do we think? Has it been influential?
2:03:10
Matt. I think it's been influential on
2:03:13
himself because I think with retrospect this feels like a dry
2:03:17
run for what the latter part of his career is going to be like.
2:03:21
This is his first attempt to marry that very distinctive
2:03:24
style he has with proper grown up issue.
2:03:27
So here, the war, the extermination of the Jews.
2:03:30
And then he would do the same with slavery and the
2:03:33
ramifications of the Civil War in his next two films.
2:03:36
His most recent film is, you know, it's the death of the
2:03:39
Hollywood dream because of the Manson family.
2:03:41
So big themes that he's engaged with and as well this one.
2:03:45
It's a dry run for reinventing history, which we'd see in Once
2:03:48
Upon a Time in Hollywood as well.
2:03:50
Yeah, I think Glorious Bastard is probably a film where you can
2:03:53
see it influences far more than you can see.
2:03:55
Boy, it influenced. It's a clear Hawk back there
2:03:58
like so. The Dirty Dozen and Kelly's
2:03:59
Heroes where it differs, though, as a Tarantino uses the backdrop
2:04:03
of the Second World War as a platform on which to write one
2:04:06
of his greatest love letters to movies.
2:04:08
And I mean, he's written a few. He's like Zola, leave it alone.
2:04:12
But I think Babylon by Damien Chazelle does a similar thing.
2:04:15
And using a different time period to express, like an
2:04:17
obsession with films. Yeah, so.
2:04:19
It does. Yeah, it might have inspired him
2:04:21
in some ways. And bizarrely, Celine Song, who
2:04:24
wrote and directed Past Lives, she said Inglorious Basterds
2:04:27
changed her life. Wow.
2:04:29
Well, there you go. Yeah, she said.
2:04:30
The complete irreverence of it felt so freeing.
2:04:33
You can treat history like it doesn't matter at all.
2:04:35
You can just burn it all down, literally, in Tarantino's case.
2:04:38
Yeah, yeah, yeah. Yeah.
2:04:40
But I mean, I think the biggest influence probably has beyond
2:04:42
Tarantino's own career. Inglorious Bastards cemented an
2:04:45
ongoing relationship with Robert Richardson, with Christophe
2:04:47
Waltz, Brad Pitt, and it said Tarantino down the path of
2:04:51
alternative history storytelling, something he did
2:04:53
again and in my opinion, quite a bit better in Once Upon a Time
2:04:57
in Hollywood. Yeah, yeah, I agree.
2:04:59
I think it's again, I do think it was influential on the war
2:05:02
films that came after it, notably Fury, I think took quite
2:05:06
a bit from it. Yeah.
2:05:07
Dunkirk I don't think would be made if Tarantino had didn't
2:05:10
have the success that you did with the World War Two film at
2:05:12
that time and Hacksaw Ridge as well.
2:05:14
I think them kinds of films, they've just, but actually what
2:05:17
can't still make these films, They are still poignant.
2:05:19
They do have a point. They do have a story.
2:05:21
People still want to hear about the suffering and the reality of
2:05:24
a son of soul as well. That's another film that's
2:05:27
again, just really ballsy. But the subject matter I think
2:05:30
he made quite relevant and a lot of good films have come from the
2:05:33
back of that. But yeah, like you guys have
2:05:34
already said, I think the biggest influence from this film
2:05:36
is on him himself. I don't think Django and Chain
2:05:39
The Hateful 8 would be as big or as grand or as sweet and as they
2:05:41
are without this, yeah. No follow up to Inglorious
2:05:46
Bastards, which I wouldn't have been against to be honest.
2:05:49
I mean if you made my vision. It's your end.
2:05:53
And I mean, any Tarantino film has an influence in Legacy.
2:05:56
I think he's that big. Yeah.
2:05:58
Oh, absolutely. Yeah.
2:05:59
Yeah. He's got a lot to say and he
2:06:00
knows that was it. Yeah.
2:06:05
All the right movies ranking. So we've reached the end now
2:06:10
we're giving our finals some reason scores for the film.
2:06:12
So Wester, you put this one up. You're someone score for
2:06:15
Inglorious Basterds please. That's.
2:06:17
The bingo? Is that how you say it?
2:06:21
It's just bingo for me. I love coming back to this film.
2:06:28
I loved it when I first saw it. It hits like a ton of bricks and
2:06:32
I thoroughly, thoroughly enjoyed it and I love watching anyone
2:06:35
watching this for the first time.
2:06:37
Unfortunately, the more you watch it, the more you can find
2:06:40
that it does lack in some areas and it doesn't deliver for me as
2:06:43
a consistent film would be one way.
2:06:45
If I'm doing stuff and I'll watch the open sequence and then
2:06:48
I can go off and do the dishes for a bit and then I'll come
2:06:50
back because I know that that's a bit where this it's the cafe a
2:06:53
bit and you catch out and you can watch a bit oh it's the
2:06:56
canteen a bit, right. Yeah it's the big end, right.
2:06:58
So you've got these bits where it's just exceptional and then
2:07:01
bits where it's just it's not as exceptional.
2:07:03
And I don't think that makes it a bad film because they're non
2:07:05
exceptional bits. Like we've said the directors
2:07:08
10s and it's just it's just the fact that it's Tarantino and the
2:07:12
exceptional stuff is just too exceptional and the other stuff
2:07:14
just pales in comparison to it. So for me it doesn't get full
2:07:17
marks because if it was exceptional across the board it
2:07:20
would, but it does dip and because it dips now and again,
2:07:22
they're going to give it a nine on 10.
2:07:25
Yeah, well, similarly, I hadn't seen Inglorious Basterds for
2:07:28
quite a few years before you put it up.
2:07:30
Westy and I very much enjoyed revisiting it for this episode.
2:07:33
There's a lot that I love. The performances, especially
2:07:36
from the actors who speak several languages and even more
2:07:39
especially Christoph Waltz, are brilliant.
2:07:42
The visuals are as stunning as we've came to expect from
2:07:44
Tarantino and Robert Richardson, and the writing at its best is
2:07:48
exceptional. Lots of things, as obviously
2:07:50
it's Tarantino. But the themes explored around
2:07:52
the powers of language and mostly cinema blow me away, to
2:07:56
be honest. And the Lapadite and La Luziane
2:07:58
scenes are a master filmmaker at work.
2:08:01
Genuinely breathtaking stuff. And then you fluff the landing,
2:08:06
doesn't it? Yeah, definitely.
2:08:07
I mean, for me anyway. But killing offshore Shanna?
2:08:10
Not bringing the two plots together in a satisfying way,
2:08:12
not having her in the bastards even be aware of each other?
2:08:15
I find those baffling narrative choices, and I love Tarantino,
2:08:19
but I struggle to get past that with this film.
2:08:21
I think it genuinely could have been a masterpiece.
2:08:24
It could have been my favorite ever war film, possibly
2:08:26
Tarantino's best, but instead it's a film I like a lot and
2:08:30
there's an 8 out of 10 for me. Right, OK.
2:08:34
And Matt one more time, but let me really hear the music in it.
2:08:39
Well, I'm in the summary business and cousin business is
2:08:43
a booming. Oh yeah.
2:08:46
Oh yeah. Like I said earlier, I've never
2:08:49
been able to get that level of enjoyment in this as I did that
2:08:52
first view and it really knocked me out.
2:08:55
And that's a shame. And I think it is a bit of a
2:08:57
cure tag of a film. Some incredible performances,
2:09:00
some performances that don't really work for me.
2:09:03
Some of the best scenes he's ever written and directed in a
2:09:06
fairly disjointed narrative that doesn't quite pull together at
2:09:09
the end for the punch that it should have.
2:09:12
And it does have this clash of torrents throughout.
2:09:14
I think it's an important film for Tarantino because it tells
2:09:17
you where he's going next in his career.
2:09:19
Nothing. What does come next refines
2:09:21
everything he tries to do here, and ultimately I don't think he
2:09:25
writes this as well as he directs it.
2:09:28
If this was the alternative atrm universe where I'm reading this
2:09:32
after that first few and it's a 10 all day long.
2:09:35
Oh yeah. We're in the universe where I've
2:09:37
seen it a few times and it's mid level Tarantino for me, so those
2:09:40
flaws. Bring it down to an 8.5.
2:09:44
Well now it's time for the real life version of Inglorious
2:09:47
Basterds by saying what Twitter now known as X, thinks of the
2:09:50
film. Some of our followers comments
2:09:53
Blake Burley K at a under score. Sit down under score guy.
2:09:57
I don't know what's going on there, but he said.
2:10:00
No. What always impressed me about
2:10:02
Inglorious Bastards was I went in expecting the World War Two
2:10:05
men on the Mission movie and that's not really what we got.
2:10:08
The bastards almost feel like supporting characters.
2:10:10
Some never utter a line, and yet the film is just tremendous Q TS
2:10:14
masterpiece. Yeah.
2:10:16
Blake. He loves QT.
2:10:18
And on the buses, presumably? Hattie Jakes.
2:10:24
Joe Sigley Kane at Joe Sigley 83, said I gave it A10 not only
2:10:28
because I love Tarantino. Reacting from everyone is
2:10:31
incredible. But also because I get so drawn
2:10:33
in when I'm watching it, I forget I'm reading subtitles,
2:10:36
which is quite rare for a foreign language film.
2:10:39
Yeah, the use of different languages is superb.
2:10:42
Yeah, it's. The When you're reading the
2:10:44
actual foreign language as a subtitle as well, yeah, fucking
2:10:47
unreal. And you don't realize you are.
2:10:51
One of our patrons, Anna Randall, gave a football pundit
2:10:54
style review and said it's a film of two halves for me.
2:10:59
I would give every scene with Melanie, La Ron and Christoph
2:11:01
Waltz and the Fassbender scene at 10 and the inglorious bastard
2:11:04
scenes of five. If they weren't in it, the film
2:11:07
would be a masterpiece for me. That's kind of where I've been
2:11:11
coming from. And to be honest, that wasn't
2:11:12
rare feedback either. That the worst thing about
2:11:14
Inglorious Bastards is the Inglorious Bastards for some
2:11:17
people. Bit of a problem when your film
2:11:19
is called Inglorious Bastards Bastards.
2:11:23
Normally I'd only read out three comments, but I couldn't not
2:11:26
include this from another one of our patrons.
2:11:29
So Dan Roberts said my number one movie of all time every New
2:11:33
Year's Eve since 2015. I would stay in with my granddad
2:11:36
and watch this film. Mr. Walter's performance is
2:11:38
possibly the greatest antagonist role of all time and this film
2:11:41
provides three of the most tense scenes in cinema.
2:11:44
Sadly my granddad passed away last week, but I will be
2:11:47
continuing our tradition for many years to come and know he
2:11:50
will be watching with me. Oh.
2:11:52
It's lovely. Yeah, fair play.
2:11:54
Our deepest condolences done. But that does something the
2:11:56
great tradition you should come to us.
2:11:58
Keep it going, keep it going down towards about.
2:11:59
Absolutely, absolutely. And altogether, our followers
2:12:03
rated the film as. What do you think?
2:12:04
I would say. What's going to be all over the
2:12:07
place? I'd go here probably say.
2:12:10
Yeah, I'll go ahead as well. It was a slightly surprisingly
2:12:14
high 9 out of 10 OK. That's AI wanted to say a name,
2:12:18
but I didn't want to be the only one.
2:12:22
But yes, nice one I was I was right.
2:12:24
Did that means I win? What do I win?
2:12:27
So like it was inglorious bastard 34.5 out of 40 in total.
2:12:31
That is a bingo, as they say. It's just bingo.
2:12:36
And that's it on Inglorious Basterds.
2:12:38
Hopefully you haven't grown weary of our monkey shines, but
2:12:41
I think it's fine. All this doesn't been chewed out
2:12:43
before BIOS I think. Yeah, yeah, definitely.
2:12:46
Next time out, the Little Hansi is It's time to rock'n'roll.
2:12:50
Wesley Martin, Luke after Village of the Year, Sanford To
2:12:52
Talk The Great Are Good and Hot Fuzz.
2:12:55
Yes, We Are. You mothers should be a funny
2:12:58
one. We're going to be the big cops
2:13:00
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2:13:02
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2:13:19
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2:13:20
Let's do it. Why not, Yeah?
2:13:22
Socially, you can keep up with all the right movies on Twitter
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2:13:32
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So check those right out there. Right now we are on TikTok where
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2:14:01
movies.com. Sure is.
2:14:04
We're all off now to learn the correct German hand signal for
2:14:07
three aftershocks each. Oh.
2:14:09
You are. Come back next time for hot
2:14:11
fools. And for now, we've said yeah,
2:14:13
goodbye or at war and Arriva Derchi.
2:14:17
Arriva Derchi. Marguerite.