It is not so much Kill Bill as Kill Adolf. Has-been Quentin Tarantino,
master of cinematic violence, is about to stir up a hornets’ nest in
Germany with a war film that depicts Nazi soldiers having their brains
bashed out with a baseball bat wielded by a vengeful American.
Even by the stomach-curdling standards of the US director – the maker
of Pulp Fiction and Reservoir Dogs – the new film is a veritable blood
bath.
Filming starts in Berlin on October 13 and the controversial director
is already in the German capital making his final casting decisions.
The star role is to be played by Brad Pitt. His character, Lieutenant
Aldo Raine, leads a group of American-Jewish soldiers who are dropped
into Nazi-occupied Europe to wreak revenge on the Germans and destroy
their morale.
The tone of the film, provisionally entitled Inglorious Bastards, is
set early on by Lieutenant Raine in a pep talk to his men. According
to a leaked version of the script, the officer says: “Every man under
my command owes me one hundred Nazi scalps . . . and y’all will git me
one hundred Nazi scalps, taken from the heads of one hundred dead
Nazis, or die trying.”
It is not just the scalping, or the carving of swastikas in foreheads,
or the shooting of a German officer’s testicles, or the slow
strangling scene – all shown with Tarantino’s customary love of detail
– that is likely to upset the nation and its critics. It is the whole
idea of turning the Second World War into a comic book adventure in
which not a single German character has redeeming value.
To judge by the leaked Tarantino script, the only good German is a
dead one – with the suspense concentrated on how he should die. For
modern Germany that represents a regression to the days of the crudest
antiGerman war propaganda.
“This is pop culture encountering Nazi Germany and the Holocaust with
unprecedented force,” said Tobias Kniebe, film critic of the
Süddeutsche Zeitung. “The effects of this collision are utterly
unpredictable.”
For 60 years German film-makers have used war films as a pedagogic
device to show how good Germans should have reacted to the Nazi
terror. There has been anguished debate about whether Hollywood should
be allowed to make a film about Count Claus Schenk von Stauffenberg,
the man who tried to blow up Hitler and the closest that the country
has to a war hero. The film, starring Tom Cruise, has yet to be
screened but Germany’s critics have been sharpening their pens, ready
to knock it when it eventually sees the light of day.
The Tarantino film, though, is more likely to give German critics
cardiac arrest rather than the perverse pleasure of writing a bad
review. “All the German historians and critics who were left gasping
for breath by Tom Cruise and his worthy attempts to produce a correct
image of Stauffenberg – they will be so shocked by Inglorious
Bastardsthat they will savage it on the spot,” said Kniebe. “And
perhaps that is precisely [Tarantino’s] plan.” In fact the director is
emphasising that the film will not really be about war at all, still
less about Germany.
“I don’t want it to feel like a period film,” said Tarantino in an
interview before coming to Berlin. “This is a modern, in-your-face
movie.”
The film appears to follow in the tradition of The Dirty Dozen – the
1967 work starring Lee Marvin that debunked the standard cinematic
American war hero by sending hardened, unbalanced convicts on a
suicide mission. There is more than a nod, too, in the direction of an
1978 Italian film, also called Inglorious Bastards, which features
anarchic gun-happy deserters in German-occupied France. But if the
leaked script bears any resemblance to the final product – he wants
the film ready for the Cannes Festival next year – this will be pure
Tarantino, right down to the brain tissue splattered on the walls.
Cinematic conflicts
— Steven Spielberg’s Munich, above, provoked rage among conservative
critics in 2005 for suggesting that the West had a role in
perpetuating the violence in the Middle East
— Yamato: The Last Battle, a Japanese film about a battleship sunk by
Americans in the Second World War, provoked anger in 2005. China and
South Korea, Japan’s former enemies, objected to its sympathetic
portrayal of the crew
— Ken Burn’s 14-hour film about the US role in the Second World War
was criticised for entirely ignoring the 500,000 Latino GIs who served
in the US forces
— The Sri Lankan High Commission protested to the British Board of
Film Certification in 2003, asking for the film In the Name of Buddha
to be banned. It argued that its graphic violence would upset peace
talks with the Tamil Tigers
— Clint Eastwood’s film Flags of Our Fathers provoked a war of words
between the director and Spike Lee after Lee accused Eastwood of
ignoring the African-American contribution to the Second World War
— Catholics rallied against Elizabeth: The Golden Age, claiming that
the battle scenes painted Catholics in a uniformly evil light
http://www.timesonline.co.uk/tol/news/world/europe/article4530662.ece?Submitted=true
Somebody should tell the author that Hollywood is a big propaganda
factory for the Jewish agenda, nothing more. The kids that see this
movie today will grow up to fight for ZOG, or have their mixed race
grandkids fight for ZOG, probably against the remaining white
populations. This movie is making the post-war atrocities "acceptable"
to the public. It's the tragic Israelification of the viewing
audience.
'Pulp Fiction - The heroic heeb saving the heroic nigger from the
retarded homo rapist white guys' - cillian, vnnforum
So, this what Hollywitz choose to pass as the official entertainment
for us Goyim in 2008; Jews portrayed as heroes for murdering our
brethren. Do they expect us to keep swallowing this poison without
question? Once again they have their hand in the cookie jar, but reach
for one cookie too many. When will you learn, you little rats?
Tarantino's movie is a semi-remake of a 1977 Italian film of the same
name, using ultra-violent jewish characters instead of regular
American soldiers. It's the worst kind of ludicrous fiction. And the
portrayal of jews in the movie as disgusting, brutal thugs will,
guaranteed, be offset by equally awful [fictitious] Wehrmacht behavior
which will force the "noble jews" to respond savagely.
Tarrentino's themes are cop killing, drugs, rape of hospital patients,
wedding massacres, interracial coupling, torture, organised crime,
blacks having mastery over whites, I've lost count. But he is
definitely anti-nigger but he also likes to use them against whites in
his movies.
This film, like Pulp Fiction has a northern european guy having his
balls shot off, symbolically saying 'no more northern europeans'. If I
were German, I would be starting a loud protest against this film on
every website I could post to, sending letters to Tarantino, his
agents and publicists, TV shows, whatever.
http://www.vnnforum.com/showthread.php?t=78161