A few days ago I watched again Inglourious Basterds.
What a masterpiece of mashup cinema! Only Tarantino is so able of mixing pieces of film history and rearranging them to form a unique tale. That’s it: unique story telling. Through a compelling art and master craft Tarantino builds a very well told story, which is what cinema is almost all about. And he does so with bits and pieces of the films he likes.
So, I was again surprised and amazed at the beauty of the scene in which Shosanna (Mélanie Laurent) kills Frederick, her hopeless pursuer and lead actor of the nazi-propaganda film they are showing at her cinema theatre in Paris. Shosanna, the woman who once, when she was a girl, had escaped from the nazi killings at the beginning of the film, now shoots Frederick. Then there’s this climaxing scene with such rethorical but beautiful music. Like in a Western, a bit slow-motioned Shosanna reaches out -almost to repentantly take care of the man, who then shoots her back in a flashing surprise. No second thoughts are admitted in Tarantino’s cynical world. It’s like this, no objection taken. The rethorics of music superimposed on the rethorics of the war-hero movie being shown, superimposed on the rethorics of Shosanna’s feelings, noble but in a way so predictable, so built-in in the woman, she cannot do anything but fall. Still, she manages to win in the end.
It’s sublime Tarantino!
Related articles by Zemanta
- Mélanie Laurent: the real star of Inglourious Basterds (guardian.co.uk)
- Movie Review: Inglourious Basterds – Liquid Modernity and Alternate History (blogcritics.org)