Thursday, August 27, 2009

Inglourious Basterds 'sic' in review.

Something different..

Kill Adolf
Posted by Steve Sailer on August 26, 2009

"While watching Inglourious Basterds, I had time on my hands to ponder once again whether Quentin Tarantino’s variegated gifts and inclinations would have made him even more suited for other careers. Reviewing Kill Bill: Vol. 2 back in 2004, I wrote, “His talents, while broad, don’t mesh well together. He should instead direct others’ scripts, while reserving his own writing—with its vivid but absurd monologues and grandstanding convolutions—for the stage.”

Having worked on the screenplay for Inglourious Basterds since the last millennium, Tarantino intends this to be his masterpiece, which suggests he deserves more imaginative career aptitude advice.

Surely, for example, Tarantino would have made an ideal Artistic Director of the Roman Colosseum during its heyday under the Emperor Commodus. “I’ve got it! We’ll start with a Mexican standoff among three gladiators, 27 Christians, two Nile crocodiles, and a giant squid. They eyeball each other tensely … suddenly, all hell breaks loose!”

Inglourious Basterds has been profitably dis-marketed as an action movie about eight Jewish-American commandos scalping 800 German soldiers. (In case you were wondering, an amusing Brad Pitt plays the Basterds’ commanding officer, a gentile Tennessee hillbilly of part-Indian blood, evidently embodying Tarantino’s self-image.) Yet, the movie actually dwells far more on the auteur’s idiosyncratic obsession with the Nazi-era entertainment-industrial complex headed by Goebbels.

Jeffrey Goldberg has a memorable article in the new Atlantic Monthly, “Hollywood’s Jewish Avenger,” about how watching Tarantino’s Jewish soldiers torture Nazis left him “so hopped up on righteous Jewish violence that I was almost ready to settle the West Bank.” Yet, when Goldberg interviewed Tarantino, the director didn’t volunteer much interest in Jewish vengeance. Instead, just as the distribution of screen time would suggest, Tarantino found other topics more alluring:

Tarantino helpfully points out to Goldberg the parallel between Goebbels’ relationship with Hitler and his own relationship with mogul Harvey Weinstein:

Goebbels provides one of the most amusing moments in Inglourious Basterds, crying when Hitler praises his latest film. “If Hitler says that this is the greatest movie you’ve ever done, I can see Goebbels getting choked up,” Tarantino said in explaining the scene. “When Harvey Weinstein does that, I get a tear in my eye.”

Besides not getting any good lines, the poor Jewish Basterds look like they were cast by Goebbels himself for an SS training film. Despite the numerous charismatic and handsome Jewish actors in Hollywood, Tarantino managed to pick a sorry bunch of stereotypes who all look alike."


Tuesday, August 25, 2009
Inglourious Basterds - A review by Trevor Lynch

"Quentin Tarantino’s Inglourious Basterds [sic, sic] has been hyped as World War II action movie-cum-sadistic gorefest. In reality, it is a self-indulgent snorefest. I thought I would need a gin and tonic before I went in, but it turns out what I needed was a cup of coffee. Yes, there is some gore and sadism, but frankly I found myself hoping for more of it. Anything, really, to relieve the sheer boredom.

Inglourious Basterds is about a team of American terrorists, consisting of seven Jews led by a gentile, Aldo “the Apache” Raine (played by Brad Pitt), who hails from Tennessee and claims to be part American Indian. The character is clearly based on Tarantino himself, since he too has an Italian name, hails from Tennessee, and claims to be part Cherokee. The mission of the Basterds is to terrify the Nazis by killing them in the most sadistic manner possible and mutilating their corpses. The dead are scalped. The survivors have swastikas carved in their foreheads.

Tarantino has asked the same question, and Inglourious Basterds is his answer. During WW II, the Jews needed the leadership of someone like Aldo the Apache, a mostly white man with a bit of red savage mixed in, just like the people who have churned out six million holocaust flicks need to take direction from Quentin Tarantino. With Tarantino in charge, the war would have had a very different end, and Inglourious Basterds shows us how.

Should Jews be insulted by this premise? Of course they should. But the movie itself is far more insulting still. Indeed, this is probably the most anti-Semitic movie ever released by Hollywood. Tarantino’s Jewish characters are one-dimensional, inhuman monsters. The Jewish Basterds are all as ugly as Der Sturmer cartoons. They have virtually no lines in the entire movie. All they do is skulk around, waiting for Aldo the Apache’s commands to murder and torture Germans.

Other Jews were equally smitten: Tarantino’s producer, Lawrence Bender, told Tarantino, “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherfucker, because this movie is a fucking Jewish wet dream.” Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge.

The symbolism and the message could not be clearer: Jews use movies and movie theaters as tools to destroy their enemies. And since the white people in the audience can most readily identify with the Germans, the message gets through: the Jewish movie business is a tool of hatred and vengeance directed against all white people."

May be worth getting out on DVD. But I will wait until the History Channel put it up as fact along with Schindler's List

1 comment:

Bunny Olesen said...

At first I wanted to watch this movie, but the more I thought about it and how the violence against whites (the nazi's) in movies is celebrated while the violence against jews or blacks is "sad"