Hunger is Steve McQueen's unforgettable dramatization of a volatile period in Irish and British history. If we can apply all the factions of war to the individuals involved, then we can and should call it as such –though the common man is seldom able to dictate history. The key battleground where it was waged was the Maze prison in Northern Ireland. The leader of the opposition was Bobby Sands, whose written words shortly before his death, “I am standing on the threshold of another trembling world,” rang true for the members of Irish Republican Army. Dozens of IRA soldiers, unkempt and uniform in misery, withstood years of imprisonment and torture whilst those on the outside continued efforts to have the entity recognized as a political one –thus rendering those taken in as political prisoners instead of the terrorists they were publicly deemed.
McQueen's political sympathies are quite clear in the film, and his background in contemporary art is not only blatant in the work, but recognized in moments of ethereal beauty. Narratively, the film is not of the norm in terms of the characters we follow and the amount of time dedicated to each. In fact Sands (played by Michael Fassbender) hardly appears in the film until the final 3rd of it. It opens by following the daily routines of Raymond (Stuart Graham), a prison official: icing his swollen knuckles after beating inmates, smoking, checking under his car for explosives planted by the IRA, sitting alone amongst bombastic colleagues at lunch break. One is never aware if he is coming undone or reeling in a sociopathic void. I don't think he even utters a word. His segment, and a brief glimpse later in the feature, are not necessarily a looking-glass in the supposed inner-conflict of those with the upper-hand, but they do offer a realistic vision in terms of the psychological turmoil that had to be a reality for at least some of the guards involved.Continue Reading
Though it almost shares a title (but little else) with director Enzo G. Castellari’s 1978 spaghetti-war flick The Inglorious Bastards, which was just a dirtier Dirty Dozen knockoff, Quentin Tarantino knows a good title when he sees it. With a minor spelling change he gave us his own comic book WWII movie, Inglourious Basterds. With a definite nod to François Truffaut’s The Last Metro, it’s like a Powell & Pressburger (49th Parallel, One of Our Aircraft Is Missing) piece of propaganda, if those guys were still making those flicks in the 1970s. What at first glance may seem like a nasty and mean Nazi revenge fantasy is actually a tribute to the power of cinema and the power of Tarantino’s beautifully composed dialogue. This may be the most talky war script ever written, but unlike the pointlessly inane ramblings of the film he made two years before this, Death Proof (his half of the double feature movie Grindhouse), this dialogue is used to constantly build suspense, and in the hands of an expert actor like Christoph Waltz, it often sounds like an evil poetry. Aided by the clever score, pirated from other films, and the sharp period detail, Inglourious Basterds proved to not only be one of Tarantino's most ingenious creations, but is a film that has aged well (in the brief years since) and is sure to take its place with the best of the genre (lets call ‘em Naziploitation flicks).
Inglourious Basterds is an equally shared international ensemble piece divided into chapters. First you are introduced to a cat n’ mouse playing German SS man, "Jew Hunter," Col. Hans Landa (Waltz in a mannered piece of scenery chewing that deservedly won him an Oscar). The film opens with him interrogating a French dairy farmer who is hiding a neighboring Jewish family in his floorboards. He toys with the man before his soldiers shoot up the floor, but the teenage daughter Shosanna (Mélanie Laurent) manages to escape into the countryside. Meanwhile an American unit commanded by a very Southern Lt. Aldo Raine (Brad Pitt acting like a cross between Yosemite Sam and Foghorn Leghorn) leads a group of Jewish soldiers known as the "Basterds" on a dirty trick mission to torture and wreak havoc on Nazis, becoming legends and the thing of nightmares to Nazis, including even a flummoxed Hitler (Martin Wuttke). A few years later, Shosanna, now known as "Emmanuelle Mimieux" (and resembling a young Catherine Deneuve), runs a hip cinema in Paris and is any movie geek’s dream girl. Unfortunately she has the unwanted attention of a young German war hero, Fredrick Zoller (Daniel Brühl of Good Bye, Lenin! and The Edukators). He is even starring as himself in a recently completed film about his sniper exploits called Nation’s Pride, directed by head Nazi propagandist Joseph Goebbels (Sylvester Groth). Zoller convinces the higher-ups, including security-chief Hans Landa, to hold the premiere at Shosanna’s cinema, with the German high command in attendance, including the Führer himself. Shosanna and her boyfriend hatch a plan to burn the theater down during the screening.Continue Reading