AS WELL AS TO THE AFOREMENTIONED CARRIE
Back when Quentin Tarantino's Inglourious Basterds was released last summer, I posted a link to an interview in which Tarantino agreed with Time Out New York's Joshua Rothkopf that there was a Carrie influence in his film's movie theater climax. A reader named Luu commented on my post, suggesting that there were also images in Tarantino's film that brought to mind De Palma's Blow Out and Scarface. John Kenneth Muir, who did an insightful serial survey of De Palma's work on his blog last year, just recently watched Inglourious Basterds for the first time, and discovered some intriguing links to De Palma's Carrie and Scarface:
Some scholars and pundits have suggested that [Inglourious Basterds] is morally facile, a simple revenge picture that makes the American Basterds (Jewish-American soldiers...) as reprehensible as the Nazis they fight in Europe; but that doesn't seem legitimately the case.
Tarantino's focus isn't necessarily on brutal, bloody violence, but on power, and how it feels to be the party without it. The Basterds in the film, as well as a Jewish cinema owner named Shoshanna (Melanie Laurent), exact violent retribution against the Nazis, it is true. But, oddly -- in almost every situation -- it feels not like eye-for-an-eye Draconian violence, but rather an assertion or re-assertion of self, or self-actualization, if that's possible.
This is why, I suspect, the film's fiery final sequence quotes extensively from De Palma's Carrie (1976) and the famous sequence at the Prom. Both movies concern the victimized pushed too far, taking back the power for themselves in an apocalyptic showdown.
Later in his essay, Muir returns to this idea:Given the importance of movie history and film in Inglorious Basterds, I find it fascinating that the last act in the film quotes so heavily from the work of Brian De Palma.
I mentioned Carrie at the Prom vs. Shoshanna at the Premiere, but it's much more than that too.
Notice, for instance, that the interior of Shoshanna's cinema is colored and designed to resemble the palatial interior of Tony Montana's Miami home in Scarface. There are staircases bracketing both sides of the central hall, with a ledge above -- on the second floor -- and, finally, a room (in the center of the frame...) leading back to a private domain (office or auditorium).
In Scarface, this grand hall is where Tony goes out in a blaze of glory ("Say Hello to My Little Friend..."). In a very real way, that's also Shoshanna's fate.
Both characters also share something else in common: they went from being powerless, to possessing all the power. Only in Tony's case, he misused and abused that power (through a drug haze). By contrast, our sympathies remain with Shoshanna throughout Inglourious Basterds. She is setting things right (and ending the war...), not committing a cocaine-addled suicide.
Why quote De Palma so extensively here? Well, we know that Carrie is in Tarantino's top five favorite film list (at least last time I checked). But the images and compositions that recall De Palma are well picked for reasons of theme and recognition too. Both Carrie at the Prom: the victim taking out the victimizers and Tony's last stand: a staccato suicide by machine gun -- embody an important part of our contemporary pop culture lexicon. Carrie is about the effect that cruelty has on a person, even a good person. And Scarface is about power corrupting, absolutely. Shoshanna may be Carrie; and Hitler may be Tony Montana, in some sense..