The big picture
- by Tarantino
Damn bastards
perfectly combines violent randomness with sensitive poetic moments, exemplifying his prowess as a director. - The tavern sequence showcases Tarantino's encyclopedic film knowledge and mastery of suspense, creating a signature bloody showdown.
- Through sharp dialogue and a bloody ending, the scene exemplifies Tarantino's perfected art of violence, surpassing his previous iconic moments.
With a clear and unmistakable vision, Quentin Tarantino has become entrenched in popular culture, to the point that its style has earned its own word in the Oxford English Dictionary: Tarantinoesque. Although he has displayed his recognizable aesthetic, along with many memorable scenes in nine feature films, it is possible Damn bastards where his work is more exemplary. In a rather violent but moving tribute not only to war films but to the lives lost under the Third Reich, Tarantino perfectly combines Damn bastards the sense of chance and sensibility in an authentic poetic way. This mix of elements comes to fruition in arguably the most definitive sequence of his directorial skill, the tense sequence in La Louisiane.
What is 'Inglourious Basterds' about?
Damn bastards tells two intersecting stories of a group of Jewish soldiers called “The Basterds” and the revenge of the last remaining member of a Jewish family massacred by the Nazi party, Shoshanna Dreyfus (Melanie Laurent). Directed by Lt. Aldo Raine (brad pitt), the Basterds sweep through Nazi-occupied France and kill any group of German soldiers they find. Dreyfus, who now runs a cinema and has a new identity, meets a German war hero in Frederick Zoller (Daniel Brühl) who is in love with her. In a move to impress Dreyfus, Zoller convinces Dr. Joseph Goebbles to show the film highlighting his exploits at Shoshanna's theater. The Basterds become aware of this plan, and along with Lt. Archie Hicox (Michael Fassbender), look to meet German film star turned English spy Bridget von Hammersmark (Diane Kruger) to talk about an operation to blow up the theater. To eliminate any form of suspicion, they decide to meet at La Louisiane, a tavern located in Nadine's village. It is in this meeting that Tarantino shows the entire repertoire of a filmmaker so in tune with himself, and uses his ability to present a moment that will forever be enshrined in the annals of cinema.
Cinematic references in the tavern scene elevate “Inglourious Basterds”
Tarantinoesque, defined as “characterized by graphic and stylized violence, non-linear stories, cinematic references, satirical themes and sharp dialogue,” is a succinct way to describe the frantic cinema of one of the most influential filmmakers of our time. The aforementioned characteristics have been used in many ways in his previous films, but it is in the tavern sequence that Tarantino takes his precious time to flesh out all the intricacies of these elements.
From the point of view of the characters, Tarantino's encyclopedic knowledge of cinema is on full display, and he uses the art of cinema as a tool against these monstrous villains. Archie Hicox has a particular interest here. The English lieutenant's original occupation before the war is that of a film critic, who has extensive knowledge in the field of moving pictures. The mission calls for exactly a film expert, and it can be deduced that this is a Tarantino fantasy. Can you imagine a movie geek in the middle of a daring mission to end humanity's bloodiest conflict? In the real world, that might be unlikely, but in Tarantino's world, it's all that's needed. The fact that Bridget von Hammersmark is a movie star acting as an Allied agent only reinforces the idea that cinema, both figuratively and literally, is the savior and hero of this version of World War II. On this occasion, Tarantino's knowledge of cinema and its history is not only used as a reference but also serves as a driving force behind the success of those who gather against Hitler.
Understand the expectations of the viewers
As the Basterds enter the basement-like bar, they are surprised to see von Hammersmark engaging in a guessing game with German soldiers. It transforms the whole dynamic of their plan, as they initially thought they would be alone. von Hammersmark soon joins them, but as soon as they get into the argument, a drunken soldier barges in on them. When Hicox reprimands the soldier for being intrusive, the latter shows some confidence with the drink and questions the undercover English captain's odd accent. Major Hellstrom (August Diehl) later reveals himself and joins the group, and also questions Hicox's accent, and then joins them and urges them to play the guessing game.
From this point on, Tarantino makes a Hitchcockian move, figuratively setting off a bomb full of suspense and letting the audience participate. Viewers know they have a secret, and understand that once revealed, it can blow up in everyone's face. As mere viewers, we are left to enjoy both the known facets and the unknown resolution of this binding bond the characters find themselves in. Here, Tarantino sets up what is expected to be a bloody showdown, but takes his sweet time stretching out. all out He seems to know the audience is waiting for that inevitable violent outburst, but he just keeps going and going. It's a figurative rubber band stretched to its maximum capacity, and once it snaps, so does all the hell that goes with it. Tarantino uses our expectations and our knowledge of his work to play the viewers like a violin.
Sharp words and a bloody ending
As the game concludes with Hellstrom successfully guessing his assigned character, Hicox informs him that he is intruding, resulting in one of Tarantino's most fascinating exchanges of words between two characters. Both Diehl and Fassbender savor each and every syllable of their dialogue, and the audience is left gripping their seats in anticipation. Tarantino's dialogue is specifically descriptive of the characters' feelings and predicaments, with Hicox as the classiest man in the world and Hellstrom as the most annoying unwanted visitor ever. Both playful and intimidating, the conversation that follows between the two is an adventure that eventually leaves the SS officer relenting and offering a drink in peace before leaving.
What's interesting here is that while Tarantino's dialogue is certainly the focus, an instance of non-verbal communication becomes the star of the scene. When Hellstrom asks the bartender to give them shots of an aged whiskey along with three new glasses, Hicox makes the fatal mistake of holding up three fingers without using his thumb. The scene goes silent, and Hellstrom looks at the Englishman who has blown his cover with all the fury of Germany. As he downs his drink, a Mexican standoff ensues, as is the trademark of a Tarantino conclusion. It is in this case that it finally reaches a fever pitch and the scene explodes into a crimson canvas. Blood is everywhere, the carnage is gruesome and graphic, and it ends with almost everyone meeting their maker. There's an artistic feel to this spectacle of violence, with each kill resonating in the audience's head despite its accelerated pace and shortcuts. Tarantino has clearly mastered the art of bloody resolutions. It is neither too grotesque nor too subtle, but the perfect combination of what makes its brutality a characteristic tool. It's as if he learned from the already exemplary barbarity of his previous films and presented an improved version of Tarantino violence.
Although there have been similar scenes of Tarantino showcasing his talent, such as the Ezekiel 25:17 scene with Jules and Brett in Pulp Fiction, the bloody consequences of Reservoir Dogsand the confrontation at the House of Blue Leaves a Kill Bill, the tavern sequence leaves them in the dust. It is a show not only of maturity, but of taking advantage of the public's expectations as cultural capital to subvert and entertain. Like a perfectly tuned musical instrument, every note and frame of this scene is exquisite, made expressly for viewers who hang on every word of his script. It's the pinnacle of Tarantino's skill, and if his previous work still left others in doubt about his place among the masters of cinema, this sequence cements it like a swastika etched into the forehead of a Nazi visor.
Inglorious bastards is currently available to rent or buy on Apple TV+ in the US
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