Oscar Nod

I hate that I love Quentin Tarantino. I really want to dislike his movies because it makes me feel like a creep when I’m not disturbed by all the violence and gore. I’m not a Tarantino loyalist, though. I will probably never see Grindhouse and I thought Reservoir Dogs was a bit excessive, so when I saw the trailers for Inglourious Basterds, I was hoping to be impressed. After shelling out nine bucks for a movie ticket, I am happy to report that this film exceeded my expectations.

First of all, I am a sucker for subtitles. I think they’re a great way to expose oneself to the beauty of another language. While Basterds is an American film, it utilized not only English, but French, German, and a little bit of Italian, as well. Because of the diversity of idioms, a wide variety of actors took part in this film. There was, of course, Brad Pitt, with whom I was pleasantly surprised. I will make this very clear: I am a member of Team Aniston and like to praise Pitt as sparingly as possible. However, I also know to give credit where credit is due, and he deserves it for this role. Sporting a ridiculous Southern accent, he plays the All-American Lt. Aldo Raine, leader of the Basterds. He oozed a kind of cool nonchalance which was reminiscent of his larger than life Tyler Durden of Fight Club fame. Then there was Christoph Waltz, who was perfect in the role of Colonel Hans Landa, the “Jew Hunter” and clear villain of the film. He terrified me with his calm portrayal of the sociopathic SS leader. This year’s Academy Awards will probably feature either Waltz or Pitt (or maybe both!) among the nominees. The rest of the film was peppered with outstanding performances. BJ Novak as Smithton Utivich and Eli Roth as Donny Donowitz provided much needed moments of comic relief, while Diane Kruger as Bridget von Hammersmark and Mélanie Laurent as Shosanna brought to life a poised movie star/ spy and a tough but tragic antihero, respectively. One final notable performance was that of Daniel Brühl playing war hero Fredrick Zoller. He made me forget that he was a Nazi, until he made it abundantly clear.

In typical Tarantino fashion, and this film was pure (well done) Tarantino, the plot was familiar but not overly predictable. It was broken up into chapters and made use of many freeze frames, arrows, and floating text. There were two main storylines. The first followed Jewish escapee Shosanna in her exploits as a cinema owner and her unwanted courtship with a Nazi war hero (Brühl). The second tells the story of the Basterds, an American special unit sent to Germany with one mission: kill as many Nazis as possible, and maybe even end the war. The two plots never cross and are connected only by the Colonel Hans Landa. I wish I could give away the exciting parts, but I would hate myself forever for spoiling the fun. While this is probably the most historically inaccurate movie I have ever seen, it wasn’t trying to be anything that it wasn’t. I found myself laughing at the sick humor and smiling widely when something shocked me, which was quite often. When I go to the cinema, it’s because I want to be wrapped up in a movie. This movie took me through a wide range of emotions, from giddy to grossed out, and it certainly did its job as a summer blockbuster. Also, it involved the audience in the fun. It made frequent references to itself which, at least to me, made me feel sharp as a tack and included in the action.

My advice: If you don’t like reading, can’t sit still, or get bored easily, don’t go see this movie. There was definitely a bit of false advertising which made this movie seem like pure action and thrills, and while it certainly delivered, there is more to it than that. The writing is dark and clever, but there is a lot of dialogue to pay attention to. Personally, that’s my favorite kind of movie. If it doesn’t make you pay attention, why bother watching? That being said, the people I saw this movie with all seemed to agree that some scenes could have been cut shorter. I respectfully disagree, but they have a valid point. If you’re a fidgeter, skip this one.

I’ll be very glad if, in February, Inglourious Basterds gets some sort of Oscar Nod. What’s more, I think a film that includes great camera work, superb writing, exceptional acting, and a blend of shadowy comedy and shocking action deserves a little golden statuette. I bet the Academy will take this suggestion into consideration.

"You know, fightin' in a basement offers a lot of difficulties. Number one being, you're fightin' in a basement! "

Watch the trailer here: http://www.imdb.com/video/imdb/vi3738173977/

I Cried?

I have said it before and I will say it again: movies do not make me cry. I can count on one hand the films which have succeeded in finding what little piece of heart I have and tearing it up, specifically It’s a Wonderful Life, The Perfect Storm, Saving Private Ryan, and Milk. I recently had to add one more to The Short List after watching Martin Scorsese’s Gangs of New York. My advice to you: do not watch this movie after a very long day, especially if you have a reputation to uphold as someone without a soul. While I’m willing to bet that the circumstances under which I watched this film can be held accountable for the one or two tears I shed, the movie would not have gotten to me had it not been so brilliant.

My absolute favorite characteristic of a film is its ability to simply begin. No long, drawn out title sequences during which each and every member of the cast and production team (Thank you so much, Jimmy Johnson the gaffer!) is credited, no explaining, just a beginning. Gangs of New York certainly delivers in that department. Within the first ten minutes of the film, there was absolutely no turning it off. By that time, the major characters were introduced, a battle was fought, and a history lesson had clearly begun.

Based on the true story of the evolution of New York from a ragtag group of gangs to a bustling city, Gangs of New York focuses on a young man named Amsterdam Vallon (Leonardo DiCaprio) seeking to avenge the death of his father. His killer, Bill “The Butcher” Cutting (Daniel Day-Lewis) was based on a real gang leader from the late 1800s, when the movie is set. There are many aspects of this movie which deserve commendation, and the acting is definitely one of them. Daniel Day-Lewis was fascinating to watch. He took a role which easily could have been made into a caricature of a bad guy and added complexity. Whether it was his add-libbed contributions which provided The Butcher with a sense of humor, or his cold, terrifying portrayal of someone with boundless power, Day-Lewis unquestionably gave the performance of the film. Leonardo DiCaprio did not stand out so vividly, if only because Day-Lewis was so fantastic. The only role I thought was terribly miscast was that of Jenny, a pickpocket and love interest, played by Cameron Diaz. This could be a personal issue because I don’t think she’s an amazing actress in the first place, but I would loved to have seen someone with more pizzazz playing the part.

The score, composed of Irish folk songs and classical pieces (mainly “Brooklyn Heights” written by Howard Shore), was chilling. It was a little repetitive, but in a familiar, welcome way. The set, especially for the opening scene, was almost surreal in its simplicity and accuracy. The depiction of what I can only call tenements in wooden scaffolding form was unnerving, to say the least, and in direct contrast with the upscale mansions belonging to the wealthy characters.

My favorite thing about this movie is that a lot of it really happened. The secondary historical plots about the Emancipation Proclamation, the Civil War, and the influx of Irish immigrants were a welcome backdrop to the primary story line (which, by the way, is still based on a true story) and helped to keep the time period in perspective. We are taught political correctness in this era, so we shudder to think about some moments of our past. This is a spectacular and shameful moment for us to remember. The scene which made the movie for me is when the Irish immigrants fresh off the boat are issued a passport and a Union Army uniform and loaded onto the ships for the south. As they are walking up the gangway, the camera pans to the right and the audience is shown a coffin being lowered onto the docks next to hundreds of others. It’s poignant, distressing, and wonderfully subtle. Also, watch for the “timeline” scene. You’ll know it when you see it, trust me.

Realistically, I don’t know what got to me. It could have been my long day, and that is probably the story that I am standing by, but even more likely is the possibility that this film was just so good, in both the production and story departments, that I couldn’t help but let loose a few tears. Don’t get used to this.

“But for those of us what lived and died in them furious days, it was like everything we knew was mildly swept away. And no matter what they did to build this city up again... for the rest of time... it would be like no one even knew we was ever here.”

Watch the trailer here: http://www.imdb.com/video/screenplay/vi518717721/