# Inglourious Basterds (2009) | Ep. 34 - Part 1

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 12 Jan 2024, 1 h 15 min.

Audio: https://traffic.megaphone.fm/APO9400461987.mp3

Quentin Tarantino sat on this script for years, convinced he couldn't crack it, before rewriting history entirely. John, Westy, and Matt begin the story of his audacious war fantasy. In Part 1 we cover the film's opening, director Quentin Tarantino, the cast, and the second act — including that masterful opening dairy farm interrogation, Christoph Waltz's star-making Hans Landa, and Tarantino's chapter-by-chapter structure. The cinema scene is loaded and waiting, and we're not there yet. Part 2 lights the fuse: crew, finale, reception, legacy. Out now. Connect with ATRM: To join our fantastic community of film fans, support what we do, access our archive, listen to exclusive episodes, and a whole lot more, become an ATRM patron: Join the ATRM Community We're available on any podcast platform: Listen on Apple Podcasts Listen on Spotify YouTube: Subscribe to our channelWe're across all major social channels too: Twitter: @ATRightMovies Instagram: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[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.
[0:35] Bastards Inglorious Bastards was released in 2009 as Quentin
[0:38] Tarantino's biggest box office hit the story of a team of World
[0:42] 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.
[0:51] My name is John and the two fellas talking Italian with me
[0:55] are maths. See, I've read the Sent to your
[0:57] 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.
[1:03] 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.
[1:48] 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
[2:10] that by becoming an ATRM Patron. Patrons get access to our bonus
[2:14] podcast episode called Double Feature, and access to our whole
[2:17] archive of bonus episodes and ATRM Classic episodes like this
[2:21] one. The archive's huge and we have a
[2:24] 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
[2:54] 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.
[3:15] 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.
[3:27] But when I saw this at the cinema, it was complete on the
[3:30] 1st watch. I just left absolutely bouncing,
[3:33] just thinking there's a film for cinema people about cinema with
[3:38] World War 2, and it was really funny and it was really fucking
[3:40] violent. And the soundtrack was
[3:42] excellent. And I just like, I wanted to go
[3:43] back in and watch it again and again and again.
[3:46] And that's how I felt when I very first saw it.
[3:48] In later viewings, late and repeat viewings.
[3:51] Does it have the same strength? Does it have the same impact?
[3:54] Does it hold up after all this time?
[3:56] That's what I'm really excited to talk about and that's what
[3:58] I'm really excited to dive into. So yeah, I'm looking forward to
[4:00] this one. Yeah, well I look forward to
[4:02] every new Tarantino movie that comes out, and this one was no
[4:05] different in 2009. I remember liking the film at
[4:09] the time, if finding it all a bit strange.
[4:11] Blowing away Hitler and gibbles with a machine gun was and still
[4:15] is mental. It's fine for me.
[4:19] And me, my strongest memory is somebody who I knew at the time
[4:22] being adamant the in the Tavern scene, the drinking aftershock,
[4:25] which they definitely are not, But coming back to it for this,
[4:32] my opinions have changed in some ways, stayed the same in some
[4:34] ways. There's a lot in inglorious
[4:36] 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
[4:44] rewritten the ending, obviously, but we've got a subject matter
[4:47] of huge historical significance in All Star Cast and it's
[4:51] Tarantino. So the deal is some crazy behind
[4:54] the scenes stories and a load of laughs I would think.
[4:56] Yep, Yep. Well, I'll back up your
[4:58] rewriting of the end and after. There is a Wesley theory in
[5:00] here. There's been a long time coming,
[5:01] but there's one coming 0. Wow.
[5:02] Oh, it's. Going to be amazing.
[5:04] So how about you, Matt? You make that deal.
[5:06] I'd make that deal. Great deal.
[5:08] 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.
[5:19] He didn't really enjoy volume to and I still think Death Proof
[5:22] was one of the worst films I've ever seen.
[5:23] Wow. Here did that.
[5:25] I was going to say one of his worst films.
[5:27] I don't think it's one of the worst films I've ever seen, but
[5:29] it's definitely not his best film.
[5:30] Oh. It's definitely not his
[5:32] masterpiece. Put it out real.
[5:33] 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
[5:39] much like Westy. I was almost like, punched in
[5:42] the air. Like, yes, he's rediscovered
[5:44] narrative. He's remembered that there's an
[5:46] audience watching this film, not just him.
[5:48] Yeah. So coming back to it now, as
[5:51] he'd expect, it's very, very Tarantino.
[5:53] And that can be both a good thing and a bad thing.
[5:55] 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
[6:00] to get into. So Inglorious Bastard was
[6:03] produced by Universal Pictures, The Weinstein Company, a Banda
[6:06] Part and Babelsburg Film Studio and released on August the 20th,
[6:09] 2009. Filmed on location in Germany
[6:12] and France, it was written and directed by Quentin Tarantino
[6:15] and its stars Brad Pitts, Aldo Raine, Melanie Laurent,
[6:18] Shoshanna Dreyfus, Christoph Walters, Hands, Lander and a lot
[6:22] more people that we'll get to. Definitely.
[6:25] Let's dive in then, do you think?
[6:26] Yeah, let's go for it. Let's do it.
[6:28] OK, get your Calabash pipes out. We're talking in the beginning
[6:31] of Inglorious Basterds. Wait for the cream.
[6:55] Wartime Nazi occupied France and things are about to go off.
[6:59] We're going to be looking into two of our main characters,
[7:01] Ensure Shamad Rifles and Frederick Zola, and the
[7:03] beginning of their relationship of sorts.
[7:07] But before that, it's the Jew Hunter and the Nazi Hunters it
[7:11] is it. Is.
[7:12] So the first sequences have been glorious, Pastor.
[7:14] To bring us one of the most acclaimed opening sequences,
[7:17] maybe ever. Yeah, when s s Corporal Hans
[7:19] Landau visits the home of French former Perrier Lapidite,
[7:23] followed by the demise of some hapless Nazis at the hands of
[7:25] the bastards. Specifically Donnie the Beard.
[7:27] You Donna wits. Yeah.
[7:29] Wesley, if a wrath were to walk in here right now, would you
[7:32] greet with the saucer of your delicious milk?
[7:34] I probably would, you know. I didn't mind.
[7:37] How's the opening for you? The opening.
[7:39] I mean, I absolutely love the good, the bad and the ugly.
[7:42] Oh no, sorry, inglorious bastards.
[7:44] The opening is it's it's fantastic.
[7:46] It's such a homage to classic, Classic Cinema.
[7:49] And this is one of the things that really stood up for me when
[7:51] it just you have that wide shot and it says 1941 underneath it.
[7:55] But this has been studied. It's been talked about at
[7:57] length. There's just, there's an hour
[7:59] and 20 videos on YouTube about the analysis of this scene and
[8:03] camera movements and the way it plays out.
[8:05] It's the perfect lesson in suspense.
[8:07] When people said that Tarantino couldn't write suspense, you can
[8:10] see where his influences are coming from, but you can also
[8:12] see how well he is he directs these actors and how good his
[8:16] dialogue is and how that build of tension is just absolutely
[8:19] fantastic. I mean, they're just little bits
[8:21] that get me with this. The change in power as he moves
[8:25] over and breaks 180° rule. The way you only greet
[8:28] Charlotte, who's the Aryan looking daughter.
[8:30] And the other two have got dark hair and brown eyes, and she's
[8:32] got blonde hair and blue eyes and he just goes to her and each
[8:35] one's lovelier than the next. Aryan features.
[8:37] It's got that kind of vibe to it where there's all these subtle
[8:40] little nuances when he checks a pulse as she walks past and he
[8:43] holds her wrist just to see if a heart's beating.
[8:46] And it's Christoph Waltz for me here, just to start.
[8:48] Remember watching one? Who the fuck is this guy?
[8:51] Where's this guy come from? He's absolutely phenomenal in
[8:55] it. I remember this sequence and
[8:57] when it comes to the point where he says you are shelter and
[9:00] enemies of the state on you, there was an audible, like in
[9:04] the whole cinema, everyone was like, no.
[9:05] And he's, I mean just nods and there's that single tear runs
[9:08] down and there's just that shift of power all the way through it.
[9:11] 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.
[9:20] Chopping wouldn't getting washed in the ball, but just put that
[9:23] the pay off when they come in. And he just puts the marks on
[9:27] the floor. And since that says that's where
[9:28] they are, continue my charade, mascarade or whatever he says.
[9:32] And they just stop blown away at the floor and that music swells
[9:35] and you're just like what? And it just hits you like a ton
[9:38] of bricks. The way just builds that tension
[9:40] and then it just explodes, literally in a cinematic flair
[9:43] of music and visuals. It's just like, look, I'm quite
[9:46] Tarantino and I'm making a huge film.
[9:48] So like it or not, this is what it's going to be like for 2 1/2
[9:51] hours and I just absolutely adore it.
[9:54] Yeah, it does have a reputation of being one of the great
[9:56] opening sequences, and for good reason.
[9:58] I think it's exceptional. I mean, mostly takes place
[10:01] inside like a very basic farmers cabin, but it's so well shot
[10:05] that it's never dull. That's sure.
[10:06] You mentioned Wesley, where the camera circles round Landa and
[10:09] Lapidi to the table. Landa kind of turns the screw
[10:12] with his dialogue, his great visual storytelling, and there's
[10:14] loads to get into. But I want to talk a bit about
[10:17] the DDL Tarantino puts into showing how Landa breaks the
[10:19] will of Lapidis, because there's quite a lot of subtle things
[10:22] going on. Firstly, I'm walking in.
[10:24] Landa comments on Lapadit's daughters being lovely, which is
[10:27] really creepy, instantly makes Lapadit uncomfortable, and me as
[10:30] well. He then asks for a glass of
[10:32] milk. Really subtle, but he's making
[10:33] it clear that everybody's there to serve him, and Landa
[10:37] constantly references the control Lapadit has.
[10:39] He has permission to switch languages or to smoke his pipe.
[10:42] But by constantly asking Lapadit questions to which you can only
[10:45] really give one answer, he's really highlighting just how
[10:47] powerless Lapadit is. It means like Jose Mourinho,
[10:50] level mind games there but. Then his pipes like Sherlock
[10:54] Holmes pipe isn't it? But he brings that out.
[10:56] It's just. Yeah, yeah, yeah, yeah.
[10:58] And Christoph Waltz. I mean, this was the first time
[11:00] I'd ever seen him in a film and I was just like, wow, his
[11:03] delivery and that close up at Lander lands the final blow.
[11:06] You are sheltering enemies of the state, are you not?
[11:08] Massive. And Tarantino said, this seems
[11:11] the besties that I've written. And I wouldn't disagree to be
[11:13] honest. We could literally do a whole
[11:15] podcast on this one scene. Like you say, Westy.
[11:18] Yeah, yeah. And that huge pipe is absolutely
[11:20] hilarious. That's hilarious.
[11:22] And it's so powerful because that's where he breaks the rule.
[11:25] He breaks 100 and 8080°. One just flips straight back and
[11:28] he cuts to that to show that he's back in power.
[11:30] 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
[11:40] 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.
[11:54] 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
[12:14] entirely. Charm offensive.
[12:15] 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.
[12:36] 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.
[12:48] 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.
[12:56] Jump back. He's fighting the Da Vinci Code,
[12:59] doesn't he? I think that as many as she is
[13:03] excellent you brings loads of pathos to the role.
[13:05] 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.
[13:12] 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.
[13:26] 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.
[13:32] Brilliant. Just little moments.
[13:33] 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.
[14:24] 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.
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[58:35] 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] in the small town. To find out more about becoming
[2:13:02] a patron, supporting what we do, and accessing our archive and
[2:13:05] bonus episode, please visit patreon.com/all the Right Movies
[2:13:09] or subscribe link on Apple Podcasts Please subscribe
[2:13:13] Written reviewers on Apple Podcasts, on Spotify, and all of
[2:13:15] your other podcast platforms. 5 stars please, even if you don't
[2:13:19] think that, just like. Absolutely.
[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
[2:13:25] or X where we are at AT right movies.
[2:13:27] We post threads on there that tell the stories behind classic
[2:13:30] films. Everything we post has been said
[2:13:32] by somebody involved in the production or comes from three
[2:13:34] separate sources, same as on our podcast.
[2:13:37] So check those right out there. Right now we are on TikTok where
[2:13:41] our handle is at all the right movies.
[2:13:43] We're on bluesky2@alltherightmovies.com.
[2:13:47] You can find us on YouTube, where our channel is called All
[2:13:49] the Right Movies on Instagram and Threads, we are at all the
[2:13:53] under score Right Movies. You can join our movie group on
[2:13:55] Facebook, where there's loads of great movie chats going on and
[2:13:58] our website full of great features is All the Right
[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.

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