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Tuesday, August 18, 2009
BASTERDS CLIMAX CHANNELS CARRIE
TARANTINO AGREES: "WITH NAZIS AS OPPOSED TO MEAN HIGH SCHOOLERS"


Time Out New York's Joshua Rothkopf suggested to Quentin Tarantino that his new film, Inglourious Basterds, is heavily influenced by Brian De Palma's Carrie, and Tarantino could see where he was coming from. Here's the excerpt from Rothkopf's article:

“It’s actually fun for me to be analytical,” Tarantino offers, adding that he may yet end up a reviewer. “And when I write, I still have my Sergio Leone–itis, whereby no character can show up without having his 20-minute introduction.” Invoking the Italian maker of epic spaghetti Westerns whom Tarantino still places at the top of his pantheon, he deftly cuts to the core of Inglourious Basterds: a war movie in decor and subject, but one laced with lengthy battles of wit and words that build to deliriously tense highs, much like Leone’s expertly edited mano a manos.The new movie is being marketed as a Brad Pitt “men-on-a-mission” action film, but it’s actually dominated by gab, flirtation, geeky tangents about German cinema and a drunken barroom card game.

Bring this false advertising to Tarantino’s attention and he’ll smile. “That’s kind of my way,” he explains. “Whatever sets me on a course to write a movie is usually pretty thin: a heist movie, a martial-arts movie, whatever. But then the idea is to go beyond that, to bust down the walls of genre. It’s only now that I could tell you that there’s more to Basterds than I thought. This movie is about language, duplicity.” I suggest to him that it’s also about Brian De Palma’s Carrie, especially the fiery climax, and Tarantino agrees vigorously. “With Nazis as opposed to mean high-schoolers—sure!”

LONG ROOM-TO-ROOM TRACKING SHOTS RECALL DE PALMA
Yet another viewer of Inglourious Basterds was reminded of De Palma (as well as Leone). Kyle Smith blogs that "portions of the movie are pure Sergio Leone," and that "the long tracking shots that take us from room to room remind me of Brian De Palma." Looking forward to seeing it.


Posted by Geoff at 11:48 PM CDT
Updated: Tuesday, August 18, 2009 11:50 PM CDT
Post Comment | View Comments (3) | Permalink | Share This Post

Friday, August 21, 2009 - 5:54 AM CDT

Name: "LUU"

 I have seen it yesternight  in Paris and as a Big De Palma Fan i can confirm that the Carrie Hommage in this movie is pretty obvious. Slow motion. Same type of colours. The last powerful picture of Shoshana's vengeance on the screen.  In the projection room, at the end,  there is an hommage to Blow out, the image of Travolta sitting in front of a  pile of films .When Shoshana opened a door the camera goes through the wall just like in Blow out.  There is also this mythical image of "Scarface shooting people" at the very end.  (And probably Femme Fatale). This very good  film is a compilation of De Palma' s best.  

I dare say that there could be a  slight  hommage to Spielberg 's Saving Private Ryan too . Morricone of course.

                 

Monday, August 24, 2009 - 3:39 PM CDT

Name: "Geoff"
Home Page: http://www.angelfire.com/de/palma/blog

Thanks, LUU-- you said "probably FEMME FATALE"-- what do you mean?

Tuesday, September 1, 2009 - 6:25 PM CDT

Name: "Luu"

Hi Geoff

I do not know really what is in a director's mind when he does a movie. I am trying to figure out what could possibly influence him. And that could be anything. The scene where Shoshana killed the german actor and soldier could be influenced by  the scene of the rape of Nancy Allen by Dennis Franz   as well  as   it could be a remnant  of  the scene of Travolta in the editing room. When Shoshana smoke in front of a circular Window it could be some homage to the poster of Femme fatale.  The circular window could replace a lens of a camera . After all  isn't  shoshana  playing a femme fatale ?

I think that the international poster of Black Dahlia is influenced by the one of Nip and tuck. Could be.  You are never sure. 

The beginning of Inglorious basterds could be an influence of Once upon the time in the West. it reminds the scene at the beginning, when five men are converging to the house to kill  the whole family. We are never sure. Tarantino is not Leone but he is spying on him  just as De  Palma was spying on Hitchcock.

    

       

  

     

 

 

                          

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