TARANTINO’S TALKATHON
Quentin Tarantino’s Inglourious Basterds might be stupid and pointless, if occasionally amusing, but as Critic After Dark Noel Vera says, Tarantino is quite good at dialogue, casting and the occasional striking image and his greatest films may be ahead and not behind him if he would ever consider mounting a production about food.
Quentin Tarantino’s Inglourious Basterds (2009) is a clever melange of violence, suspense, slapstick, wit, movie references both arthouse and grindhouse, talk, talk, more talk, even more talk; seems to me he is more in love than ever with the sound of his own words coming out of the mouths of about a dozen different men and women, in several accents and twice as many acting styles.
His initial setpiece, a variation on an early scene in Sergio Leone’s The Good, the Bad, and the Ugly (1966) (Leone’s outsized opera style seems to inspire Tarantino more and more, from Kill Bill Part 2 (2004) onwards) has Colonel Hans Landa (Christopher Waltz) earning his nickname of “The Jew Hunter” - he sits with farmer Pierrer LaPadite (Denis Menochet) enjoying a glass of fresh-drawn milk, gently maneuvering the hapless peasant into admitting to harboring Jews.
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