Anti-Muslim Fear. America In Transition.


This whole notion of a “Ground Zero Mosque” is a complete fabrication created and spurred on by politicians who are using Americans’ misguided fear as a tool. And the consequences are dire. Now simply being a Muslim is reason enough to fear for your life. Is this America? Yes, it’s America in transition. It’s America learning that it is no better or worse, no stronger or more immune to mass hatred and bigotry than any other country in the world.

Here’s just one example of a politician fueling hatred and twisting facts into a misguided, fear-based movement:

“The folks who want to build this mosque, who are really radical Islamists, who want to triumphfully (sic) prove they can build a mosque next to a place where 3,000 Americans were killed by radical Islamists. Those folks don’t have any interest in reaching out to the community. They’re trying to make a case about supremacy… This happens all the time in America. Nazis don’t have the right to put up a sign next to the Holocaust Museum in Washington. We would never accept the Japanese putting up a site next to Pearl Harbor.”  —Newt Gingrich

Ironic that Gingrich equated Muslims with Nazis and yet the type of hatred he espouses is far more akin to the early stages of Naziism than anything being promoted by an Islamic Cultural Center. And isn’t a Holocaust Museum’s purpose to forever remind people of the bigotry and hatred that caused the Holocaust in the first place in the hopes of recognizing it and stopping it before it happens again?

One such consequence of Gingrich and others’ fueling of people’s misconceptions and feeding into their fear is that New York Muslim cab driver Ahmed Sharif was slashed from throat to cheek by his fare when he admitted to being Muslim. By a drunk 21 year old Michael Enright caught up in the anti-Muslim fervor.

Or how about the man mistaken for a Muslim who was violently harassed by anti-Mosque ralliers?

While the face of American bigotry and small-mindedness rears its ugly head and reveals its face to the world at large, at least a voice of reason can be heard alongside it as 9/11 families and others stand in protest to the anti-Muslim sentiment sweeping the nation and vocally support the building of the Islamic Cultural Center 2 blocks from Ground Zero that Fox News and a handful of politicians have misleadingly dubbed the “Ground Zero Mosque.” New York Neighbors for American Values rallied yesterday near Ground Zero:

“I lost a 23-year-old son, a paramedic who gave his life saving Americans and their values,” Talat Hamdani said, and supporting the Islamic center and mosque “has nothing to do with religion. It has to do with standing up for our human rights, including freedom of religion.”

Rabbi Arthur Waskow, director of New York’s Shalom Center, said the project will show the world a form of Islam that espouses peace – not the Islam of the terrorists.

“It is right; it is wise to build it,” he told hundreds of people gathered under the arches of Manhattan’s Municipal Building, a short walk from ground zero.

Several coalition members noted that the mosque site’s developer, Sharif el-Gamal, modeled it after the Jewish Community Center on Manhattan’s Upper West Side. It serves anyone who wishes to participate, they said, and so will the Muslim center near ground zero.

Stand up for what is right. Don’t be a pawn. And support freedom of religion in America. See the Islamic Cultural Center blocks away from Ground Zero for what it is. Not what you may fear it is.

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Anti-Muslim Fear. America In Transition.

Lively Doesn’t Want Gays Killed, Just Eliminated


Scott Lively, the president of one of the most hateful organizations in America –Abiding Truth Ministries– has spoken out against Uganda’s Anti-Homosexuality Bill. A bill he, in essence, helped create.

“I suggested they liberalize the law, not to make it more [harsh]. What’s the gay agenda in Uganda? It’s the attempt to homosexualize the country like they did in so many other countries. … To change the moral foundation of the society, away from a marriage-based culture, to one of sexual anarchy.”

Well, it seems Mr. Lively’s outspoken opinion of homosexuals has rubbed off on Uganda’s lawmakers –who were already severely homophobic– to the point where they are proposing a bill that would, if passed, make Homosexuality punishable by a lengthy prison sentence or, in many cases, death.

So what was Lively doing in Uganda in the first place?

He was invited.

According to Lively himself:

“They were concerned about the attempts… by American and European gays, mostly men, who were coming into their country, messing with the young men in the country, and trying to influence their political and cultural policies.”

Lively visited Uganda to give a series of talks along with Don Schmierer and Caleb Lee Brundidge, two American evangelical Christians who are well known for their teaching that homosexuality can be “cured.”

According to Stephen Langa, who organized the Ugandan event, the purpose of these talks was “the gay agenda — that whole hidden and dark agenda.”

I guess they succeeded. And many lives may be lost as a result. Certainly many lives will be destroyed. And many will be directly linked to Mr. Lively’s “teachings,” despite his insistence that he does “not believe in incarceration for homosexuality.” Unfortunately, Lively’s assessment of his talks in Uganda is that “Our campaign was like a nuclear bomb against the ‘gay’ agenda in Uganda.”

According to Wikipedia:

For three days, according to participants and audio recordings, thousands of Ugandans, including police officers, teachers and national politicians, listened raptly to the Americans, who were presented as experts on homosexuality. The visitors discussed how to make gay people straight, how gay men often sodomized teenage boys and how “the gay movement is an evil institution” whose goal is “to defeat the marriage-based society and replace it with a culture of sexual promiscuity.”

These talks are widely considered to have been instrumental in the development of the Uganda Anti-Homosexual Bill which would:

“broaden the criminalization of homosexuality in Uganda, including introducing the death penalty for people who have previous convictions, who are HIV-positive, or who engage in sexual acts with those under 18,introducing extradition for those engaging in same-sex sexual relations outside Uganda, and penalising individuals, companies, media organizations, or NGOs who support LGBT rights.”

So let’s take a look at Mr. Lively’s credits to see who else he’s been influencing lo these many years. In addition to heading the Abiding Truth Ministries –which it should be stated is listed as a hate group by the Southern Poverty Law Center— Lively was also the co-author of a book titled THE PINK SWASTIKA which suggested direct links between homosexuals and the Nazi Party. He is also the former state director for California’s branch of the American Family Association, which is an organization that promotes so-called conservative Christian values. Those values basically boil down to being anti-pornography, anti-gay, pro-life, and in favor of “traditional” marriage only. They also support deregulation of the oil industry and oppose the Employee Free Choice Act which, if passed, would “amend the National Labor Relations Act to establish an efficient system to enable employees to form, join, or assist labor organizations, to provide for mandatory injunctions for unfair labor practices during organizing efforts, and for other purposes.”

The American Family Association defines itself as “a Christian organization promoting the biblical ethic of decency in American society with primary emphasis on TV and other media”

Lively also formed the anti-homosexual group Watchmen on the Walls based in Riga, Latvia, which supports conversion therapy and describes itself as “the international Christian movement that unites Christian leaders, Christian and social organizations and aims to protect Christian morals and values in society.”

Those Christian morals and values include anti-gay rallies wherein gays and lesbians are pelted with bags of excrement. A practice I’m sure Jesus would have approved of.

So why waste time writing about such lunatics as Lively and his associates? Because it’s people like Lively who help spread hatred, fear and gross misunderstanding. And in doing so, they have a direct negative impact on the lives of many human beings. This is the same reason I write about Sarah Palin, Dick Cheney, George W. Bush, Glenn Beck, etc. Because, while they may only represent a fringe, folks should at least be aware of what is being said and how it is being heard.

And while I don’t know where Mr. Lively and friends claim to get their information about the “gay agenda” from, you can read about Mr. Lively’s agenda right here, in his own words and in crystal clear black and white.

From Lively’s DECIPHERING ‘GAY’ WORD-SPEAK AND LANGUAGE OF CONFUSION:

“If homosexuality is not innate, it must be acquired. And if it can be acquired, we dare not allow homosexuality to be legitimized to our children. If there remains any shadow of doubt as to the cause of homosexuality, we must err on the side of protecting our children. Indeed we must actively discourage them from viewing homosexuality as safe and normal, when in fact it is demonstrably neither safe nor normal. It bears noting here that normalcy is functioning according to nature or design. Normalcy is not based on popular opinion.

“…The truth about homosexuality is self-evident. Self-evident truths are not taught, they are revealed. Helping people overcome “gay” sophistry does not require teaching them new facts and figures or raising their level of intellectual sophistication. On the contrary, it requires a clearing away of the misinformation that obscures the simple reality of things.”

Lively Doesn’t Want Gays Killed, Just Eliminated

Subversive Cinema: Tarantino’s INGLOURIOUS BASTERDS


Contains massive spoilers! Do not read if you haven’t seen the film!

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There’s more to Quentin Tarantino’s INGLOURIOUS BASTERDS than meets the eye. If you were hoping to see KELLEY’S HEROES, THE DIRTY DOZEN, THE GUNS OF NAVARONE or even a remake of the original THE INGLORIOUS BASTARDS, this film probably left you feeling like Tarantino missed some crucial elements of the Men-On-A-Mission/War genre.

In fact, Tarantino, who has exhibited his love of film and genre-filmmaking time and again, has bumped himself up a notch here and twisted our expectations to make a film that is both artistically and historically subversive.

But let me start with a brief introduction to Tarantino and my reactions to his earlier films. While I loved RESERVOIR DOGS and its character-driven and deeply cinematic approach to the Heist-Gone-Wrong genre, I found PULP FICTION (Tarantino’s most commercially popular film) to be rather slight. It was cinematically fun and contained moments of truly witty, well-written dialogue, but at the end of the day the film left me feeling empty. And while JACKIE BROWN was entertaining and gave us a chance to see some sorely missed faces return to the big screen, the film didn’t knock me out, though I did appreciate it. The KILL BILL movies I found to be terrific. Not deep or meaningful, but filled with a love and mastery of a specific genre that Tarantino knows very well. It is a glourious1homage to so many films that one has to share Tarantino’s knowledge to recognize them all. Luckily, that’s not a prerequisite to the film’s enjoyment. It just adds another dimension. DEATH PROOF, the second feature on the GRINDHOUSE double bill, was a mixed bag for me. I found the scenes with Kurt Russell to be mythic and engaging and exactly what I would have hoped for. The long passages of dialogue with the young women, however, particularly the first set, seemed endless and a tad masturbatory. For me, it took the wind out of the GRINDHOUSE sails, particularly after Robert Rodriguez’s rousing zombie actioner that preceded it. All this said, I believe each and every one of the above-mentioned films deserves another look as INGLOURIOUS proved to be so much more than I initially thought.

Upon leaving the theater after the brief closing credits for INGLOURIOUS, I thought to myself that I had just seen a truly captivating and fun Tarantino film. Already one of my favorites. But there was something nagging at me; areas of the film that seemed “underdeveloped” or misdirected. But Tarantino’s no dummy and he knows his genre films better than most. So what exactly was I feeling? What was that brewing just beneath the surface?

Well, through conversations with friends and my own inner dialogue, I started to see the film Tarantino had made, instead of the film I had expected him to make. And like some of the greatest filmmakers of all time (e.g. Stanley Kubrick, John Cassavetes) Tarantino’s new film will elicit different reactions based on expectations and might easily be dismissed and/or misunderstood. At least initially. That said, I don’t consider Tarantino a director of the caliber of a Kubrick or Cassavetes (yet), but I think in this age of lowest-common-denominator filmmaking, Tarantino still understands the word “cinema” and has placed his own stamp on it. This puts him leagues above many of his working contemporaries.

Let’s start with the Basterds themselves. A seemingly familiar team of rag-tag rebels thrown together by circumstance and talent to create the perfect unity for accomplishing a near-impossible task at great risk to themselves. And like all Men-On-A-Mission films, the lives of thousands, maybe millions, hang in the balance. However, the main thing that appears to be missing from Tarantino’s take on the genre is time spent getting to know these characters. In INGLOURIOUS, the Basterds are sorely lacking in dimension. We know little about most of them and, as a result, have little investment. Naturally, this seems to be the antithesis of the genre as we know it. Especially since one of Tarantino’s specialities is finding ways to make even the smallest character unique and three-dimensional. Take the inglourious-basterds-2scene in the underground bar, for example. The celebrating Nazi soldiers are given moments that tell us something about their personalities and interactions. When the female soldier (Petra Hartung) puts her pal in a headlock and teases him by twisting his nose (an iconic image of youthful innocence and playful — albeit somewhat masculine — affection), the young man’s anger, resentment and humiliation is present even as the camera pans away. Relationships, personalities and hierarchies are established almost instantaneously. Even the frightening Maj. Dieter Hellstrom (August Diehl) seems to be the only one present who recognizes that the film KING KONG was a reflection of America’s fear of the black male. While playing a name game, Hellstrom asks Lt. Archie Hicox (Michael Fassbender) “Am I the story of the negro in America?” When Hicox answers “No”, Hellstrom replies with “Well, then, I must be King Kong.” It is Hicox’s oblivious denial and lack of awareness that allows Hellstrom to be certain of the correct answer. So it takes a racist Gestapo Major to recognize an allegory for America’s fear and racism when we ourselves may not see it. And this, without question, tells us quite a bit about Hellstrom. It also serves as a hint to the audience that the film we ourselves are watching may be richer in social meaning than its facade suggests.

Even the new Nazi father, Master Sgt. Wilhelm, played with drunken delight by Alexander Fehling, immediately gains our sympathy and understanding. We don’t want him to die. We want him to go on to see his son Maximilian grow up. And there is an air of sorrow when he does not.

So why not make the Basterds equally as sympathetic? As revealing? Why not give them equal presence? It is Hellstrom and Wilhelm who steal the bar scene. It is they whom Tarantino chooses to explore. By comparison, Fassbender’s Hicox is shown to be both arrogant, dimensionless and sloppy. It is he who singlehandedly undermines the entire mission with his lack of self-control and self-awareness.

At first, one starts to think perhaps crucial footage was cut from the film in order to accommodate a shorter running time. In fact, some footage was cut (as is always the case), but I’m starting to think that may have been a wise, insightful move. The Basterds are presented as brutal, Nazi-scalping killers. And if one is to keep score (as you should), the most graphic violence in the film comes from these men.

inglourious_basterds_8By contrast, let’s take a look at the Germans, the Nazis, the “villains”? They are, oddly enough, more developed characters than our “heroes”. Christoph Waltz’s star-making turn as Col. Hans Landa, while being a frightful man in may ways, is also portrayed as engaging, intelligent and, at times, somewhat charming. He’s the German Sherlock Holmes. Only he’s hunting Jews. And we admire his skill, as appalling as its intent may be. And though he may not necessarily be “likable”, his time onscreen is nothing short of mesmerizing. And while he is responsible for the death of an innocent Jewish family early in the film, this massacre is shown with bullet holes in the floor as opposed to a splattering of blood and guts. Not like the graphic nature of the Basterds whose scalpings are shown in gory detail throughout the film. And both inglourious-basterds-brad-pittLanda and Brad Pitt’s commanding Basterd, Lt. Aldo Raine, each let one survivor go, both scarred in their own way. Both men are playing God. The difference is that Pitt’s Raine is presented as the quintessential American caricature. He’s dimensionless and boiled down to a series of stereotypes. This is, essentially, how we have portrayed Nazis and villains in film after film. The Aryan-featured SS officer with a scar down his cheek, a thick, repulsive accent, and a kind of sadistic glee. Pitt’s “Nazi Killer” is just that. Only he’s the American version with a scar across his throat.

We’re also reminded here of the Hollywood stereotype of American Indian “savagery”. After all,  Raine claims to be part Indian and thinks of his merry gang as “Apache Jews” and is himself known as “Aldo the Apache.” The fear tactics used by the Basterds are the same tactics used by American Indians against the U.S. Cavalry; essentially, being outnumbered, the Indians created an overwhelming degree of fear in the minds of their enemy through unspeakably violent and humiliating acts. So much so that the enemy believed it would be better to kill themselves and their families rather than be captured.  In contemporary terms, these tactics are commonly known as “acts of terrorism.” Even Col. Landa, in his face-to-face conversation with Raine toward the end of the film, makes a similar comparison. “And your mission–some would call it terrorist plot– is still a go…” If one stops for a moment to look at the Basterds’ final plan, it is to strap explosives to themselves and blow up a theater full of people. One need not stretch one’s imagination too far to make the necessary comparisons to today’s threat of suicide bombers. Nor would it be inappropriate to draw a line between some of the Basterds’ tactics and American military methods used at facilities such as Guantanamo Bay and Abu Ghraib.

holeLt. Aldo Raine’s interrogation of Bridgett von Hammersmark (played by the lovely and tough Diane Kruger), is nothing short of brutal and heartless torture as Raine calmly presses his finger deep into Hammersmark’s fresh and oozing bullet wound. What makes this scene even more subversive is that it is intercut with a quick “fireside chat” with a vulnerable and all-too-human Adolf Hitler as he explains his reasons for wanting to attend the upcoming screening of “Stolz der Nation.” Placing these two contrasting images side-by-side competes with our desired concept of heroes and villains, Americans and Nazis. To portray Hitler as more sympathetic than the American soldier trying to stop him clashes head-on with our collective self-perceptions by twisting and shattering beloved and much-needed icons. As a result, Inglourious_Basterds_Hitler_talksTarantino successfully blurs the lines between heroes and villains and what happens when human beings lose sight of their own humanity. No matter what side they’re on. And it is in that same conversation mentioned above between Raine and Landa, that Landa compares the two men as equals. “Tell me Aldo, if I were sitting where you’re sitting, would you show me mercy?” To which Raine replies with unabashed honesty, “Nope.” This is soon followed by Landa’s disgruntled observation, “Lt. Aldo, if you think I wouldn’t interrogate every one of your swastika-marked survivors… we simply aren’t operating on the level of mutual respect I assumed.”

Two peas in a pod.

But Landa is not the only character Raine is compared to. Despite claims that Pitt’s performance came across as if he were in a different film from the rest of the cast, Pitt plays the part of Raine with a full understanding of his role within the big picture. It is Martin Wuttke’s committed portrayal of Adolf Hitler as an angry, spoiled child that comes across equally as broad and stereotyped. Raine and Hitler inhabit similar worlds within the genre. But unlike Pitt’s Raine, Wuttke’s Hitler is never shown enacting any violence himself. In fact, in one scene, Hitler and the soldier Raine set free are essentially crowned Basterds-8-300with a halo of sorts. And Hitler never questions the surviving soldier’s lame alibi, but instead sets him free, though the weight of history and Hitler’s childlike relish at watching Americans slaughtered in the film within a film “Stolz der Nation” still keeps him a dangerous, buffoonish sort of villain worthy of a bloody end. But those same childlike qualities and vulnerabilities make his death just a tad less satisfying than, say, if he’d killed the surviving soldier as one would expect a villain like Hitler to do. He does not interrogate this “swastika-marked survivor” as Landa or Raine would.

By the same token, Raine and his men are only heroes to us in that they’re killing Nazis and history has shown us just how horrible and atrocious the Nazis were. But, as we’re starting to realize, in Tarantino’s Nazi occupied France, the Germans are presented in a somewhat different light than we’re used to from the genre. And though Tarantino is clearly relishing his ability to rewrite history, he is not presenting the Nazi’s as innocents or heroes. He’s not glorifying or forgiving them. Hardly. That’s not the history he’s rewriting. But he manages inglourious_basterds16something fascinating. When Richard Sammel’s Sgt. Werner Rachtman is asked by Raine to divulge the whereabouts of his fellow soldiers, their weapons and mission, he “respectfully” refuses. Even though he knows that he will face a brutal and painful death. But even though this man is a Jew-hater and murderer, there is also a bravery and strength of character, something admirable about him. And when he answers with a “Fuck You” to Raine, we understand and hope that we would have a similar conviction and commitment to our own beliefs. Yet his “Fuck You” is also followed by “And your Jew dogs”, forever reminding us who this man is, what he represents and, at the same time, instilling a sense of bewilderment at our own conflicted reactions to him. It is this depiction against the dimensionless brutality of Raine and his merry gang of mercenaries that we, as the audience, start to experience something that, at first, seems “wrong.” Isn’t Aldo Raine the hero? Aren’t the Basterds the good guys? Shouldn’t we be admiring them? Perhaps, but Tarantino concludes the sequence with Sgt. Donny Donowitz questioning the purpose of a medal hanging from Rachtman’s chest: “You get that for killing Jews?” “Bravery,” is Rachtman’s answer. And brave he is, by any set of standards. Even Rachtman’s walk to his inevitable death is given to us in slow-motion as a stirring spaghetti-western-flavored score — usually reserved for heroes and stoic characters — unspools in the background. Rachtman is then ceremoniously beaten to death with a baseball bat. And Tarantino trains the camera on every skull-cracking, brain-squashing moment. And we do recoil somewhat. Even though we know that this Sgt. has committed atrocities possibly worthy of such a death. And yet there’s something else in the air, something off in this interpretation of the genre as we know it. Even the young terrified Nazi soldier who is given his freedom gains our sympathy. We “feel” for him, his fear, his humanity. We don’t want to see Raine and the others beat his head in, too.

inglourious_basterds_eli_roth_mIt should be pointed out that the American who wields the bat that crushes the life out of Sgt. Rachtman is horror/torture-porn director Eli Roth (CABIN FEVER, HOSTEL). Not personally a fan of Roth as a filmmaker, I carry that slight aversion onto his acting and presence in the film. He’s not awful, not by a long shot, but he’s also not of the caliber to be acting alongside the likes of Waltz, Pitt and others. There is also something definitively unsettling about seeing this guy who directs pornographically violent films, wielding a bat and series of machine guns and acting out what seems like a disturbed childhood fantasy. I’d like to think that Tarantino made this choice on purpose; that it was meant to be a statement in and of itself. That would certainly coincide with the rest of the themes inherent in the film and filmmaking. But Tarantino also used Roth to annoying effect in DEATH PROOF and produced Roth’s HOSTEL, so one can assume he’s fond of the guy. But Roth’s own take on INGLOURIOUS just adds to my distaste: “It’s almost a deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic feeling…. My character gets to beat Nazis to death. That’s something I could watch all day.” This led Roth to tag INGLOURIOUS BASTERDS “Kosher Porn.” Perhaps this is the place Roth needed to go (or was led) in order to play the character of Sgt. Donny Donowitz, a.k.a. The Bear Jew, but I do not believe it defines the essence of the film. It is a simplistic interpretation that I believe speaks more to Roth’s sensibilities than to the film’s.
 
Which brings me to a slight aside: Is a film its filmmaker’s intent? If Tarantino shared Roth’s interpretation of INGLOURIOUS, would that make it so? I believe, unequivocally, no. Like the makers of KING KONG who may not have intended their film to be an allegory for the slave trade, we do not know how many of the connections made here regarding INGLOURIOUS BASTERDS were intentional on the part of Tarantino. And truth be told, it doesn’t really matter. Once a piece of work is put out there for public consumption, it no longer belongs to the artist; his or her intentions are secondary to the experience of the film itself, as Tarantino himself will attest to:

“When I write, I’m not very analytical about it, I don’t ever deal with the subtext cause I just know it’s there… I just keep it about the scenario, I keep it on the surface, all my concerns… And one of the fun things is that when I’m done with everything, now you get to be analytical about the process, and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface. But I don’t want to deal with the underneath while I’m making it or when I’m writing it… because, again, I don’t want to hit these nails on the head too strongly. But that’s one of the things that I love the most about when I do write film criticism and stuff, is getting into the subtextual areas.”

In fact, when confronted with similarities between the Basterds and Al Queda, Tarantino answered:

“I wasn’t trying to necessarily make a political point in there. It literally was just the next step in the story as far as I was concerned. However, once I did it, the irony was not lost on me at all.”

By the same token, Tarantino wasn’t completely oblivious either, as his statement here on his intentions suggests:

“I wanted the film [to work] sort of the way ‘Bonnie and Clyde‘ worked when it came out. It was an old genre that took place in the ’30s, but it was actually telling you something about the time today. And that was what I was trying to do with this in this genre.”

It is what is inside the filmmaker that comes out in his or her art and finds its way into the subtext. Any artist who trusts their talent and is not stifled by some predetermined formula knows this to be true. Tarantino again:

“My movies are painfully personal, but I’m never trying to let you know how personal they are. It’s my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. ‘Kill Bill’ is a very personal movie…. It’s my job to invest in it and hide it inside of genre…. Most of it should be subconscious, if the work is coming from a special place. If I’m thinking and maneuvering that pen around, then that’s me doing it. I really should let the characters take it. But the characters are different facets of me, or maybe they’re not me, but they are coming from me. So when they take it, that’s just me letting my subconscious rip.”

With that, I’ll continue.

In the above-mentioned Sgt. Rachtman death scene, we are given a glimpse into the background of one of the Basterds. Til Schweiger’s Sgt. Hugo Stiglitz. At first, I assumed this was a device that would be used to stiglitzreveal the histories and personalities of all the Basterds. But this turned out not to be the case. Again, no mistake. Sgt. Stiglitz was a Nazi turned Nazi-killer. He was inducted into the Basterds for his skills. He is still a German. And he is given more development than any of the American or British characters in the film.

I was told there were scenes shot detailing the past of Eli Roth’s Donny Donowitz. If true, I don’t know why the scenes were removed, but judging from the structure of the film and the themes present in this cut, I believe that better serves the film.

Now let’s take a look at the characters of the French Jew Shosanna Dreyfus and her unrequited Nazi suitor Pvt. Frederick Zoller, played by Melanie Laurent and Daniel Brühl respectively. Shosanna is cold and distant, but understandably so. Her family was brutally murdered by the Nazis under the command of Col. Landa. This “other” storyline has richer characters than any concerning the Basterds. The inglourious-basterds-danielbruhlpersistent Zoller is a walking contradiction; a German war hero who singlehandedly slaughtered upwards of 200 Americans in a 72 hour period, and who is also charming, sincere and extremely likable throughout most of the film. We can’t help but like him despite the fact that he has committed mass murder. After all, he was just a soldier doing his job and his affections for Shosanna seem downright innocent and boyish. However, the closest thing to a friend, or perhaps a mentor, that Zoller is shown as having is none other than Joseph Goebbels, played with disarming vulnerability by Sylvester Groth. Certainly not the Goebbels of our history books nor of American films past. This Goebbels has a genuine love of cinema and even sheds a tear of pure unadulterated joy when his Führer/father-figure proclaims that Goebbels’ newest film may be his best ever. Ironically, the German director responsible for the Führer’s new favorite film is nowhere to be found. He is not seated in the private booth with Goebbels and Hitler, nor is he (or she) ever mentioned or congratulated. This is especially noteworthy as Zoller is the star of the film within a film and Shosanna pangs him earlier with the line “I’m French. We respect directors” when he asks her why she included director G.W. Pabst’s name on the marquee for an earlier film showing at her cinema.

Meanwhile, Shosanna’s true love, her projectionist and partner in crime Marcel, played with understated pride by Jacky Ido, enacts a crucial role in the events to take place and in aiding in the development of Shosanna’s onscreen character. Sadly, he himself has far too little screen time and the film yearns for the possible inclusion of a scene that was supposedly shot and removed before release detailing how Shosanna became the owner of the theater and met and fell in love with Marcel. Not having seen this footage, I obviously cannot comment on the actual benefits of its inclusion into the story. Nonetheless, the result is once again going against convention and not giving equal attention to our typically heroic characters and, though we like Marcel, we are given little of him.

But Shosanna has another man in her life. Col. Landa. The scene staged between these two is filled with all the tension one would hope for from such an encounter. It is landafarmeralmost Hitchcockian in the way its deceptively simple dialogue places you on the edge of your seat. Like the film’s opening scene between Landa and Denis Menochet’s strong and sympathetic Pierre Lapadite. Few films can claim such a riveting opening consisting almost entirely of 20-plus minutes of pure conversation (as well as appropriately inspired camerawork).

But back to the scene at hand… One wonders fearfully if Landa knows who the woman he is sharing strudel with actually is? Was his ordering Shosanna a glass of milk to compliment her dessert an innocent gesture or a subtle torture? Or is all this insistence on milk and creme just Landa’s way of weeding out Jews by seeing who will consume dairy products not in sync with proper Orthodox dietary laws? We never find out. Shosanna’s plot to kill the Nazi elite, though successful, is never revealed to Landa, whose job it is to prevent such actions from occurring. Shosanna gets her revenge, but the man who killed her family is not there to witness it. He never knows who was behind it. Tarantino pulls the rug out from under us yet again as he denies us, as well as Shosanna, that moment of gleeful, personal revenge. In fact, Landa is too busy working out the details of his happy future living the good life on Nantucket Island to notice much else!

And here is where the lines blur even deeper as we find ourselves spiraling toward our climax. The charming and terrifying Landa gets his hands truly bloody for the first time in the film as he strangles to death German actress turned British spyinglourious_basterds14 Bridgett von Hammersmark. There is a brutality here that we have not seen before. Though he is responsible for the killing of Shosanna’s family, he has his soldiers do the actual dirty work. It is an important distinction and somehow manages to change how we feel about this character when he decides to do exactly what von Hammersmark was attempting by betraying his country and his comrades. It is he who carries on her work! His killing of von Hammersmark is not a product of national pride, but of personal pride. It has more to do with her foolish attempt to trick him than with what it is she is trying to achieve. Landa becomes truly monstrous at this point, beyond his already unsettling presence. And this, ironically, just moments before he decides to become a willing U.S. ally and let the Basterd’s plan run its course. It’s almost as if he had to prove his brutal worth within the context of the film before trying to become a Basterd himself.

At the same time, Shosanna’s boyish Nazi suitor shows another disarming quality as he exhibits a level of disgust at watching the film version of himself massacring the “enemy.” But just as we think we know where this is going, Tarantino throws us for another loop as Zoller shows us the dark side that allowed him to kill those people in the first place. Gone is the charming suitor, and in his stead we find a wrathful bully angered by Shosanna’s apparent lack of feeling. But it’s only after Shosanna has shot him down, both literally and figuratively, that she finally shows any real signs of sympathy and remorse. But it’s a direct result of her glimpsing Zoller’s “innocent onscreen hero” projected on the big screen before her and not Zoller himself. She, like the film’s Nazi audience, is taken in by the propaganda machine responsible for so many mistruths and untimely deaths. And it results in her own. Her moment of weakness (or humanity–you decide) is met with her brutal shooting at the 1224252968211_1hands of the real Zoller whose final act is one of bloody vengeance. Shosanna doesn’t live to see the fruits of her labor. By this point in the film, Shosanna is inexorably linked to her Nazi audience both physically, emotionally and psychologically. When she puts on her rouge to prepare for the evening’s bloody proceedings, it is clearly more war paint than makeup, and the swastika looming in the background completes the picture. It should also be noted that it is film itself, the highly flammable 35mm nitrate prints Shosanna has collected, that is used to spark the fire that destroys everyone in the theater and ends the war. Like its effect on Shosanna’s feelings toward Zoller, it is both creative and destructive, truth and lies, as our characters are both beautiful and ugly simultaneously. They are flip-flopping now at a rapid pace. The distinction between villains and heroes narrows even further. All victory, for the characters and audience, is marred.

And it is around this point in the film that we start to realize that Tarantino is truly playing God, not only with our moral conscience and our genre expectations, but with history itself. While we’re busy wondering how Hitler and Goebbels and the rest of the Nazi elite will escape the impending arson (because history insists that they must), Tarantino gives us the one thing no film in this genre has attempted before. He lets them all die. The war comes to a screeching halt and millions of lives that were lost in actuality, are spared. We are permitted to celebrate the fantasy death of these historical monsters as the film’s opening statement “Once Upon a Time in Nazi-Occupied France” comes to fruition. But all at a price.

While watching the film version of Zoller’s “heroic” massacre of American soldiers, the Germans cheer and celebrate each and every brutal killing. And in doing so, they disgust us. But suddenly the tables are turned as we find ourselves cheering the deaths of Hitler, Goebbels and others trapped inside the burning theater. As they panic and claw at one another in an attempt to escape the flames and smoke that will consume them (oven and gas chamber references welcome), two Basterds mow them down with machine guns. Men and women, in their best celebratory attire, drop like flies, their bodies riddled with bullets. Meanwhile, ibface2-thumb-500x264-11600Shosanna’s laughing face is projected onto the smoke from the flames like that of a crazed demon or the devil herself. She has placed herself in the film. She is the film. And the propaganda of her final act is now aimed at us. This is truly a scene of genuine horror. Heroes and monsters are suddenly lumped together as the audience watching INGLOURIOUS BASTERDS becomes a mirror image of the audience of Nazi elite watching Stolz Der Nation or Nation’s Pride. We are denied our moment of pure vengeance, of having done the right thing, of the heroes overcoming the villains. Everyone here is a villain. Even Donowitz’s frenzied destruction of Hitler’s face is both satisfying and sickening all at the same time. Hitler’s long dead by the time Donowitz turns his machine gun on him one last time. It all happens so fast that we are never given a moment to revel in Hitler’s realization that he has been outwitted and undone. It simply doesn’t occur. Our fantasy scenario has been marred and we are left unsure as to whether we should cheer or put our heads down and mourn the loss of all humanity.

And this is carried out right up to the last frame in the film. Though we know Raine’s carving of the Nazi swastika deep into Landa’s forehead is just and deserved, it is also shown in such graphic detail as to be simultaneously sickening. In fact, it is through Landa’s (and, in an earlier scene, a young Nazi soldier’s) point of view that we witness Raine’s final deed of “just vengeance,” making us, the viewer, the recipient of his knife-wielding handiwork. These shots, consciously or unconsciously, are disturbingly reminiscent of a famous publicity still (used on the film’s soundtrack LP cover) from Wes Craven’s chilling and bloody 1972 revenge-fest, LAST HOUSE ON THE LEFT, taken from a scene in which one of the film’s sadistic killers, while out in the woods, carves his name into his victim’s flesh and then leans back to admire it, while his equally twisted partners-in-crime look on, impressed.

As a result, in the final shots of INGLOURIOUS BASTERDS, Raine and his Basterd partner (B.J. Novak) seem a bit more demented than heroic, even though we can’t flaw them for their actions and, to a degree, celebrate them. But Tarantino makes it just a tad harder to revel in their deeds without infusing a small tinge of something else there too. Something lacking humanity.

And so, like Cassavetes’ use of the public’s expectations of the Hollywood Romance genre to turn the audience on their heads in MINNIE AND MOSKOWITZ, Tarantino takes our expectations of the Men On A Mission and American World War II genres and completely subverts them. He gives us our cake, and lets us eat it, too. But he purposefully leaves out the sugar.

melanie

Subversive Cinema: Tarantino’s INGLOURIOUS BASTERDS

Jesus Was Not A Jew! Good Ol’ Fashioned American Common Sense


JesusUSAI can’t tell you how many times I’ve had to argue with acquaintances to convince them that Jesus was a Jew. “Jesus was not a Jew! He was a Christian!” is the answer I most often get. It takes me a full 3 to 4 seconds before I recompose myself, lift my jaw back into a closed-mouth position, and explain how all this actually works.

But no matter how often I find myself in this strange predicament, I’m always just as horrified and saddened by the lack of education and basic intelligence so often flaunted by some of my fellow Americans. And I’m no genius, mind you! Just some dude with a basic education who’s trying to keep up and always feeling one step behind. Sometimes two! But, man-o-man, the ignorance I’ve bumped up against on my own little journeys.

I remember taking a poll once on how many people believed in god and, if they did, what their personal definition of god was. I remember there was a significant number of responders who, when asked if they believed, answered unequivocally “Yes!”. When asked as to their definition, I was often repelled with the angry response, “I don’t know! Who the hell thinks about that kind of stuff?!”

So maybe it’s not stupidity, but a lack of thinking that so many suffer from. Maybe it’s just laziness. I don’t know. But whatever the cause, the symptoms terrify me. Especially when faced with life or death decisions like war and health care.

So when I question the intelligence of some Americans and get the occasional angry response, I simply have to shrug. If you want me to think more Americans are smart, stop acting so stupid. When people I know vote for McCain because they believe Obama’s gonna take away their guns even though they don’t have the proper medical coverage, barely earn enough to buy the food they need, own a home that is in a mortgage crisis, complain about their kids’ education, can’t afford private school, have two family members with disabilities, live just above the poverty level, and want the right to have an abortion if need be, I have to wonder if they have a clue what they’re actually voting for.

Then add the fact that Obama’s a Muslim, was born in Kenya, hates whites, is a Nazi, and eats babies for breakfast… I start praying (and I’m technically an atheist) that some of the smarter individuals I know start spreading some facts around. I’m not saying you have to believe what I believe, but at least understand what YOU claim to believe!

Perhaps this is why I enjoyed Bill Maher’s rant SMART PRESIDENT ≠ SMART COUNTRY in The Huffington Post today. Here’s an excerpt:

headshot…On the eve of the Iraq War, 69% of Americans thought Saddam Hussein was personally involved in 9/11. Four years later, 34% still did. Or take the health care debate we’re presently having: members of Congress have recessed now so they can go home and “listen to their constituents.” An urge they should resist because their constituents don’t know anything. At a recent town-hall meeting in South Carolina, a man stood up and told his Congressman to “keep your government hands off my Medicare,” which is kind of like driving cross country to protest highways.

I’m the bad guy for saying it’s a stupid country, yet polls show that a majority of Americans cannot name a single branch of government, or explain what the Bill of Rights is. 24% could not name the country America fought in the Revolutionary War. More than two-thirds of Americans don’t know what’s in Roe v. Wade. Two-thirds don’t know what the Food and Drug Administration does. Some of this stuff you should be able to pick up simply by being alive. You know, like the way the Slumdog kid knew about cricket.

Not here. Nearly half of Americans don’t know that states have two senators and more than half can’t name their congressman. And among Republican governors, only 30% got their wife’s name right on the first try.

Sarah Palin says she would never apologize for America. Even though a Gallup poll says 18% of Americans think the sun revolves around the earth. No, they’re not stupid. They’re interplanetary mavericks. A third of Republicans believe Obama is not a citizen, and a third of Democrats believe that George Bush had prior knowledge of the 9/11 attacks, which is an absurd sentence because it contains the words “Bush” and “knowledge.”

People bitch and moan about taxes and spending, but they have no idea what their government spends money on. The average voter thinks foreign aid consumes 24% of our federal budget. It’s actually less than 1%. And don’t even ask about cabinet members: seven in ten think Napolitano is a kind of three-flavored ice cream. And last election, a full one-third of voters forgot why they were in the booth, handed out their pants, and asked, “Do you have these in a relaxed-fit?”

And I haven’t even brought up America’s religious beliefs. But here’s one fun fact you can take away: did you know only about half of Americans are aware that Judaism is an older religion than Christianity? That’s right, half of America looks at books called the Old Testament and the New Testament and cannot figure out which one came first.

And these are the idiots we want to weigh in on the minutia of health care policy? Please, this country is like a college chick after two Long Island Iced Teas: we can be talked into anything, like wars, and we can be talked out of anything, like health care. We should forget town halls, and replace them with study halls. There’s a lot of populist anger directed towards Washington, but you know who concerned citizens should be most angry at? Their fellow citizens. “Inside the beltway” thinking may be wrong, but at least it’s thinking, which is more than you can say for what’s going on outside the beltway.

And if you want to call me an elitist for this, I say thank you. Yes, I want decisions made by an elite group of people who know what they’re talking about. That means Obama budget director Peter Orszag, not Sarah Palin.

And just to put the proper tag on all of this, Sarah Palin brought my point (and Mr. Maher’s) home beautifully today on her Facebook account by writing:

The America I know and love is not one in which my parents or my baby with Down Syndrome will have to stand in front of Obama’s “death panel” so his bureaucrats can decide, based on a subjective judgment of their “level of productivity in society,” whether they are worthy of health care. Such a system is downright evil.

Yes, Sarah, not only is the moon made of cheese, but so is the space between your ears. I’m not sure which is more terrifying, the notion that Sarah Palin, like her protege Joe The Plumber, really has no clue what she is talking about, or that she knows very well what she is talking about and is purposefully misleading her brand of “followers” and other Americans for reasons other than their own best interests.

Ignorance or greed? Both are extremely dangerous and can lead to the same destructive end. And when lives are lost, they are not brought back. Not even by Jesus.

Jesus Was Not A Jew! Good Ol’ Fashioned American Common Sense