Tyler Cowen has a very different view of Quentin Tarantino’s latest movie, Inglourious Basterds:
Tarantino made his Hong Kong movie, his martial arts movie, and his Blaxpoitation flick but I never expected him to dip into Nazi cinema. He sure loves hearing those Germans talk — boy are they eloquent — and fascist chattering takes up most of the movie. There is a veneer of a Jewish revenge plot against the Germans, but most of the movie strikes me as a re-aestheticization of various Nazi ideals, cinematic, linguistic, and otherwise. I’m not suggesting Tarantino literally favors the rule of Hitler, rather he probably got a kick out of getting away with such a swindle, right under the noses of Hollywood and with commercial success to boot. The Jewish assassin squad members hardly seem virtuous (in some ways they’re portrayed to fit Nazi stereotypes), whereas the German characters light up the screen and show extreme cleverness. (Hitler by the way is a “crummy Austrian,” not up to the more rigorous German ideal.) The sniper “movie within a movie” — which has Tarantino constructing a Nazi movie for a screening scene — is a stand-in for the broader enterprise. Throughout one wonders what are the implied references to Israel, such as when the Jewish suicide bombers strap explosives to themselves. There is homage to Riefenstahl, Pabst, Emil Jannings, Nazi “mountain movies” and other unsavory bits. I found viewing this movie a disturbing and negative experience. I’ve done a lot of work on the history of the state and the arts; if you don’t believe me, go away and research Nazi cinema and watch the film again.
Once again, it isn’t a movie I was particularly interested in seeing, and this interpretation makes me even less likely to shell out the price of admission.
