"Inglourious Basterds" Original Title: Inglourious Basterds
Director: Quentin Tarantino
Screenplay: Quentin Tarantino
Cast: Brad Pitt, Mélanie Laurent, Christoph Waltz, Diane Kruger, Daniel Brühl, Eli Roth
USA / Germany, 2009
Plastic and cartoonish. That's the first thing that comes to mind after assessing the latest film by Quentin Tarantino, the young - although not so much - director in the 90's impressed us greatly with "Reservoir Dogs" (1992) and "Pulp Fiction" (1994). Tarantino's name became a cult and his films became an obligation to be seen . Few directors have had that privilege and Tarantino are well aware, so you can give it the air of a diva at times begin to drain, allowing the viewer's mind to focus on its more bombast in his work. Did Scorsese has done through his years? Marty remains humble and simple reason for this more than their peers who have the adjective "arrogant."
But out of all the marketing director likes Tennessee native produce, is his work over the years has grown between expectations inversely and quality. "Inglourious Basterds" was announced with fanfare, but global criticism not attracted much attention, perhaps because of its excessive length and its little impact once the plot of his story. The work presents a curious and anecdotal story that manages to be novel, but the bombardment of figures or scenes ridiculous quasi-plastic, decanted in the storyline as banal rush down time being saturated that only add to the public start yawn.
Nevertheless, the film has its strengths and the extraordinary performance of Christoph Waltz - winner of Cannes for this role - who despite exercising extreme characters caricature, it establishes a connection with the credibility that the audience can appreciate. Not for Brad Pitt or the rest of the cast, who were not lucky - or well compensated by the director - to embody roles who did not have a space to release the stage act. But this is not their problem, but the script because it has not delved into the lives of the characters - except perhaps Shosanna Dreyfus - dismantling and projections that each performer could exercise.
What Tarantino has and to spare, is the proper use of audio-visual language. And it expressly separated audio and visual, as the director of "Kill Bill" (2003) is a genius in the soundtracks of his films, sparking a party in each of the cinemas as demonstrated with "Inglourious Basterds." From his early films has shown, with soundtracks of worship that have become required components within the collections of music lovers. And this talent Quentin have not lost any more of his photography, as the camera position is fundamental to the language that has developed over the years and is already installed as a trademark in the global film industry. The plans for this work are real moments odes to the image, which offset the sleepy history displayed after the best of the film: the first part.
Rating: 5 / 7
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