GENRE: adventure, war & drama
RELEASED: 19th august 2009
BUDGET: $70,000,000
GROSS: $120,523,073
FEATURES: brad pitt, melanie laurant, christoph waltz, eli roth & diane kruger
in nazi-occupied france during WWII, a group of jewish-american soldiers known as 'the basterds' are chosen specifically to spread fear throughout the third reich by scalping and brutally killing nazis.
a young jewish refugee shosanna dreyfus witnesses the slaughter of her family by colonel hans landa. narrowly escaping with her life, she plots her revenge several years later when german war hero fredrick zoller takes a rapid interest in her and arranges an illustrious movie premiere at the theater she now runs. with the promise of every major nazi officer in attendance, the event catches the attention of the 'basterds', a group of jewish-american guerilla soldiers led by the ruthless lt. aldo raine. as the relentless executioners advance and the conspiring young girl's plans are set in motion, their paths will cross for a fateful evening that will shake the very annals of history...
- tarantino intended for this to be as much a war film as a spaghetti western, and considered titling the movie 'once upon a time in nazi-occupied france'. he gave that title instead to the first chapter of the film
- he worked on the script for almost a decade
- the name of brad pitt's character, lt. aldo raine, is an homage to both the actor and WWII veteran aldo ray and a character from rolling thunder
- on german advertisement materials all swastikas were removed or covered up, as it was unclear to the distributor if the swastikas violated german law (which prohibits the exhibition of nazi symbols except for purposes such as historical accuracy)
- the very first scalping shown in the film on a dead nazi is a dummy of tarantino
- the film has recieved eight academy award nominations
SONGS USED
- the green leaves of summer- nick perito
- the verdict- ennio morricone
- white lightening- charles bernstein
- il mercenario- ennio morricone
- slaughter- billy preston
- the surrender- ennio morricone
- one silver dollar- gianni ferrio
- bath attack- charles bernstein
- davon geht die welt nicht unter- zarah leander
- the man with the big sombrero- june havoc
- ich wollt ich war ein huhn- lilan harvey & willy fritsch
- main theme from dark of the sun- jacques louisser
- cat people- david bowie
- mystic & severe- ennio morricone
- the devil's rumble- mike curb & the arrows
- zulus- elmer bernstein
- tiger tank-lalo schifrin
- uh amico- ennio morricone
- eastern condors- sherman chow gam-cheung
- rabbia e tarantella- ennio morricone
REVIEWS
"inglourious basterds was advertised (often by tarantino himself) as a ‘men-on-a-mission’ movie; a western set during WWII. well, the ads were half right. fhe film did feature men on a mission, and the western inspirations were clear (ennio morricone is all over the soundtrack). but this was not the action movie we had been promised; in fact, the film’s brief moments of action are so abrupt, immediate and bloody you might as well consider them tableaus. the film is far bigger and better than that"
"its budget was a minuscule $70 million (that seems like a lot, but it was about the same as judd apatow's 'funny people'). having seen about three quarters of the touted best picture contenders for the 2010 academy awards, i can say without hesitation that inglourious basterds is the only film that warrants victory. as i plough through the remaining oscar bait, i’m sure deserving nominees will be revealed, but surely none could top tarantino’s achievement"
"tarantino is often criticised for being something of a “mash-up” director; a filmmaker who takes all his influences, throws them into a blender and emerges with a film of his own. we could devote an entire encyclopaedia to the references in inglourious basterds"
"tarantino also disrupts my interest during the movie, interrupting my attention with “stunt casting” (like mike meyers in a distracting cameo) and references to his own past triumphs. in the opening scene, landa gulps down a “tasty beverage” provided by his host—his target—in an obvious reference to pulp fiction’s jules. later, the voice on a telephone is obviously harvey keitel—a clever but distracting cameo included as a wink to his fans"
"tarantino is, at times, like one of those popular, flamboyant, egomaniacal orchestra conductors, gesticulating wildly and turning to the audience to make sure we know that the show’s about him"
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