American director Brian De Palma has a long and often controversial filmography. He started out doing counterculture social satires but found his true calling as cinema’s foremost Hitchcock imitator and made a name for himself with his generous use of fake blood and topless women in danger. In the beginning he was often associated with his pals the movie brats (Spielberg, Lucas, Coppola, Scorsese, etc.) who stormed the gates of Hollywood and took advantage of the brief period in the '70s between the era of the studio system and corporate conglomeration, when directors ruled with more personal projects. While many of his peers dominated the awards and critics' lists, De Palma was more of a B-movie director who well into the blockbuster '80s had a hit-and-miss record, which in retrospect, is at least always interesting. Directors Noah Baumbach and Jake Paltrow create the perfect tribute with their endlessly fascinating documentary De Palma: no talking heads, just the always-bearded director discussing each film, year-by-year with plenty of clips to accompany him.
De Palma began his career in academia and on the fringes, a true independent director, doing unfunny comedies. His peak of unfunniness came with his first studio picture, the horrible Tommy Smothers vehicle Get to Know Your Rabbit. It bombed and De Palma reinvented himself with the bizarre cult musical Phantom of the Paradise and the very Hitchcockian thriller Sisters (which still stands up today, for me, as maybe his best film). Its mild acclaim and success got him a chance to direct the high profile adaptation of Stephen King’s Carrie. The film was a smash and De Palma became a brand name. He has had some hits: Dressed to Kill, Scarface (which mostly found its audience later via cable and videotape), The Untouchables and Mission Impossible (more a Tom Cruise production than a De Palma joint). He made a pretty good movie, Carlito’s Way (mostly memorable because of Sean Penn’s brilliant performance as Al Pacino’s coked-out lawyer), but most of his other films have ranged from forgettable to not very good.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