I think this just might be my masterpiece.
Before even leaving the set, Quentin Tarantino had declared his sixth film to be his very best.
However,Basterdsprovides the clearest and most eloquently caustic articulation of Tarantinos ideology to date.
Movies are awesome, and their effect supersedes everything else.
Rather,Inglourious Basterdsprimarily belongs to two characters: Christoph Waltzs Hans Landa and Melanie Laurents Shosanna.
The movie begins on the fateful day that Shosanna is introduced to the Nazis.
Yet serendipitously, Landa spares Shosannas life on a whim.
And this is supposedly a happy ending!
In fact, everything Zoller does plays to the template of filmmaking shorthand for lovemaking.
In a pre-filmed sequence she had manually spliced into Goebbels propaganda, Shosanna gets the last laugh.
Its a gaudy testament to the temporary but inescapable reach of movies.
A movie killed Hitler in a fiery inferno both on and off the screen inInglourious Basterds.
Maybe it really is a masterstroke.
