Tarantino makes sure that the art of cinema kills- literally!- the whining of the society and so does he with a fabulous cast.
Tarantino’s obsession and passion over historical events started reaching to the screen from this, indeed glorious project. I’d like to consider this as the writer and director Quentin Tarantino’s intermediate state of his creative professional life. This is where his career was in transition period and you can practically see him wire his love for cheap thrills into a much more heavy themes expressed majestically on large scales. His cinema grew bigger with diverse subjects, meticulous world and unique old style techniques. Long theatrical takes that tests both the actor’s talent and sparks up the love for old theatre plays among the audience, his conversation aren’t funny for the laughs anymore.
This is where I feel he has matured the most as a writer. What was intended to be a distraction is part of a job, now. It is a responsibility. And Tarantino being aware of his influence as a filmmaker and of his work, he loads the guns with poetry and punches with self-explanatory metaphors. The blood flooded on the screen isn’t a luxury but a necessary scream that yells out the love. A small kid loving the cinema for what it is.
That innocence is what drew me in, in this latter stage of Tarantino’s work, something that I didn’t feel in his previous work. His rich characters that he always shines in his film like an emblem is carrying enormous depth and history. And carrying most of that load is Brad Pitt flexing his comedic skills along with Christoph Waltz whose mixture of fear and power conjures you on the screen like no one in the film. But I lean towards Melanie Laurent’s character every time she appears on screen. And I have been wondering for a while, why is it that now. For among these Inglourious Basterds that are pragmatic and resemble a lot to the people we live around, hers is cinematically empathetic and offers a hand for us to hold onto in this cold war.