Inglourious Basterds

“I think this might be my masterpiece.” These final words of the film immediately precede a placard with big, yellow letters reading, “Quentin Taratino.” Now that we know how the writer/director feels about his film, the question asks itself: is this indeed his masterpiece (thus far)? The scope is certainly more expansive, the writing flawless, and the acting incredible on all fronts. It seems Tarantino seeks to do more with this film than he has in any previous endeavor. It also seems he has succeeded.

Revisionist history is exactly what it sounds like: when people rewrite history based on new or different enlightening information about transpirations in the course of history. Revisionist fiction, likewise, attempts to retell history in a wholly original light by, at times, flat out lying. World War II did happen. In Tarantino’s version, though, the truth essentially stops there. He tells the story of a group of Nazi hunters, seeking to exterminate them the way the Nazis seek to eliminate the Jews. Told through several plot lines over numerous “chapters,” each of which could stand on its own as a brilliant short film, Inglourious Basterds is perhaps the model for writers of revisionist fiction to follow henceforth. It is just that good. However, attempting to follow this film would be a feat in itself, for only brave directorial souls to tread.

Hitler has been depicted repeatedly over the years, the best of which being Downfall (a must-see German flick), and this one should be among those standing the test of time, regardless of the historical facts. We believe the idiosyncratic, megalomaniacal, despotic Hitler. Tarantino knows this well and creates this image of Hitler for us perfectly, not to mention Martin Wuttke, who realizes and portrays this vision deftly. Brad Pitt and Mélanie Laurent lead the gang of protagonists, rounded out by Eli Roth and B.J. Novak.

But it is the brilliant, Oscar-worthy performance by Christoph Waltz as the antagonist that takes the cake. He plays Hans Landa, the all-too-clever (and canny)  Colonel in Nazi occupied France. He shows such control over the subtext of each scene and is so fully invested in Landa that we see a rich, layered character, and one of the best performances of 2009, and, indeed, of recent years. One can only hope that Waltz will be offered roles with as much complexity as this one, giving him (and us) brilliant, nuanced characters.

Masterpiece? Up to this point, probably so. Tarantino, a modern auteur, has developed such an authoritative and distinct voice in contemporary film-making that his films will probably only continue to get better. Let’s hope that they are at least as good as this. If they are, then we are all in for a treat. This is Tarantino at his best. Inglourious Basterds is an absolute must-see. If you can handle a scalping or two.

Rating: 4/4 Stars