Nationaler Stolz (Ger)

Bonjour, bonsoir chacun. Je voudrais présenter un nom de film en tant que inglourious basterds à vous des types ici. C'était une exposition très gentille de film comme je peux vous dire ici. L'espoir tout le monde le voudrait. :)

Quentin Tarantino can always be counted on to write killer dialogue. In Inglourious Basterds, his bold and bloody homage to World War II action movies, the writer-director has produced his most wordy epic yet.

Taking his cue from World War II action pics like The Dirty Dozen, Devil’s Brigade and 1978’s original Inglorious Bastards (yes, both words were spelled correctly in that version), Tarantino has fashioned a relatively straightforward storyline in which a special unit of Jewish Americans land in occupied France and start scalping Nazis. They later cross paths with a theater owner with her own scheme.

The film follows a band of Jewish-American (and Jewish-German) soldiers carving a bloody swathe through Nazi forces, scalping and gouging their way toward revenge (complete with Hostel-esque graphic close-ups of scalps being removed), led by Brad Pitt’s Lt Aldo Raine, a Jewish hillbilly with Native American blood. It’s bloody, sometimes brutal, but always knowing, often mocking, and ultimately it’s popcorn entertainment. As the Basterds head toward their greatest mission – to blow up Hitler, Goebbels and most of the Third Reich’s high command as they gather for a propaganda movie premiere at a small French cinema – we realise their plot will converge with that of Shosanna Drefuss (Melanie Laurent), the young Jewish woman whose family was slaughtered in the opening scene, now running the afore mentioned cinema and planning her own explosive end to the evening. And there are other plot strands. Several. A German film star turned spy (played by Diane Kruger) who assists the Basterds. A German soldier turned film star (played by Daniel Bruhl) who falls for Shosanna. The narrative is told in five chapters (a familiar Tarantino trope, lazily employed here), and structurally it’s something of a mess. The Basterds aren’t the central figures you might expect them to be, and whereas Kill Bill’s chapter based structure had the Bride as the driving force through each chapter, the one character you could justifiably call a protagonist here (Shosanna) is absent for many of the film’s key sequences, leaving the narrative feeling somewhat aimless.

But the big surprise is just how funny Inglourious Basterds is. Christoph Waltz, who comes to Basterds from a career mostly spent in German and Austrian television, is genuinely staggering as the barking mad Hans Landa, putting in a Peter Sellers-like virtuoso comedic performance, thoroughly deserving of the Best Actor award he won at Cannes. The portrayal of Goebbels as a camp, fawning kind of Nazi Louis B Meyer is quite something, ditto the ridiculously furious toddler-in-a-hissy-fit Hitler. Brad Pitt as well gets the laughs as Aldo Raine, hamming up his Southern drawl, and although Mike Myers’ inclusion as a ridiculous British officer is misjudged and the less said about the casting of Eli Roth the better, there are great big laughs to be had throughout. If only Basterds were a comedy this would be all the more impressive.

But for all the laughs there’s the nagging sense that Tarantino’s dialogue ain’t what it used to be. There was a time, apparently, when Quentin would not leave the house or look people in the eye, such was his fame. He would be mobbed on the streets in China – a country where his films were not even released. Meteoric success seems to have, perhaps understandably, had an effect on Tarantino’s quality control, and here his trademark scenes of long conversational dialogue regularly ramble on beyond the point of interest, tension or humour – though thankfully nothing like as much as in Death Proof. Never has a person been in more dire need of a non-sycophantic script editor. Couple this with the somewhat loose structuring of a story which had in the past been mooted as both novel and mini-series, and you have a film which does not scale the necessary heights for a man who is arguably the key auteur for the current era of cinema.

Review quoted from http://www.movie-moron.com/

A man in the film he spokes cosmopolitan language. (Salute, an inspirer to learn)

Little Jewish girl who escaped

Adolf Hitler

(Nai nai nai nai nai nai nai.... dieses ist nicht recht)
Haha. It's totally funny when the screen plays

Undiscovered?

Pit. I'm so like about his accent on this show, he speaks with quite cherubic

Bastards crew

Lmao, A humor screen here, leadership names, who else more

Genghis Khan..more, King Kong?

Somebody is not walking away from the doors

Anti - Nazi

I spent this moment with Chris, Nowa, Chin Poh, Shi Qi, while I was returned, person who I always like to be buzzing up with, well it's good time everywhere if DIN are come together. If you are knowing this history clearly, then it might be a very interesting show to you, is a thrilling, very funny. Inglourious Basterds occasionally boring, very entertaining piece of cine-literate hokum from a Premier League director who still wants to physically move his audience, to have them rolling and cheering, and anticipating his films with all the fervour of a sports fan looking forward to the Superbowl. The issue for Quentin is that Inglourious Basterds is only his fifth best film, and with Death Proof clocking in at six of six, that means his last two have been his least good. The seventh film from Quentin Tarantino then is going to be a very important one.

Hitler's a zero or a hero?

Loo ann est un enfant très mignon.