The Unz Review • An Alternative Media Selection$
A Collection of Interesting, Important, and Controversial Perspectives Largely Excluded from the American Mainstream Media
 BlogviewPaul Gottfried Archive
Kill the Krauts
Email This Page to Someone

 Remember My Information


Bookmark Toggle AllToCAdd to LibraryRemove from Library • B
Show CommentNext New CommentNext New ReplyRead More
ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
These buttons register your public Agreement, Disagreement, Thanks, LOL, or Troll with the selected comment. They are ONLY available to recent, frequent commenters who have saved their Name+Email using the 'Remember My Information' checkbox, and may also ONLY be used three times during any eight hour period.
Ignore Commenter Follow Commenter
Search Text Case Sensitive  Exact Words  Include Comments
List of Bookmarks

Steve Sailer’s interpretation of Tarantino and his latest flick Inglorious Basterds coincided with that of my older son, who discussed Tarantino’s work with me last night over the phone. Like Steve, Joe viewed the subject matter of Tarantino’s latest blood-and-guts spectacle as more of the same violence and cynicism that one encounters in all of his films. The playing up of Nazi murderers and the revenge inflicted on them by Jews is supposedly the mere vehicle by which Tarantino could titillate his viewers, just as he did in Reservoir Dogs, Pulp Fiction, and Kill Bill, Vols. I and II.

Without necessarily denying the usual Tarantino idiosyncrasies in this movie, it seems that his subject may have been chosen, for among other reasons, because bashing Germans and showing them to be irredeemable Nazis is a popular theme with Hollywood, American liberals, Jewish organizations, and millions of self-hating Germans. Producing a counterfactual film about the Second World War, in which Jews get a chance to destroy the Nazi government while scalping Wehrmacht officers, can’t hurt box office receipts in the least. Such PC themes may not be the sole reason for Tarantino’s film success. But it is a critical factor, as I am led to believe after reading the rave reviews from Ebert, the New York Post, and several foreign newspapers.

In any case, the best review of the film I’ve run into is by my favorite German film critic, Claus-M. Wolfschlag in Junge Freiheit (August 21). Wolfschlag, who specializes in sniffing out ideological propaganda in German and American films, goes to town on Tarantino’s ‘overreaching.’ He observes that the director pretends to be leaving ‘his American conceptual realm of drugs, hired killers, stuntmen, and go-go dancers’ by ‘trying something new.’ But what Tarantino produces is a mere variation on Grade-B anti-Nazi films, in which save for the quality of acting by the Austrian Christoph Waltz, everything and everyone is comfortably stereotypical.

One looks in vain for a halfway normal person of German nationality, perhaps a new father or a well-intentioned war hero like Friedrich Zoller (played by Daniel Bruhl, who falls in love with a pretty Jewish girl Shoshanna. But in the end Zoller turns into a persistent stalker. The desperate Shoshanna is driven to shoot him, but then turns around, conscience-stricken, to look at the gravely wounded Zoller. This conciliatory gesture, however, turns out badly. Zoller shoots back at the young woman killing her. The moral is clear. To feel any human feeling for a German is inappropriate.

Wolfschlag also notes the final PC touch in the film. Shoshanna falls passionately in love with a very black African, whom she describes as ‘mon concitoyen francais.’ Needless to say, the chance of any of this happening, that a French Jewish woman of this generation (played by the very Nordic looking French actress Melanie Laurent) takes up erotically with a West African black, who is helping her to run a French movie house under the German occupation, is infinitesimally small.

For want of a better characterization, I might summarize the contents of Tarantino’s movie by reproducing in English Wolfschlag’s biting resume:

Inglorious Basterds has a plain pornographic component. The actor Eli Roth called it ‘kosher porno.’ It provides a crude model for getting German haters to masturbate. Self-hating Germans were already panting with wet underpants as they waited for the film’s opening last Thursday. In a shameless society, which hypocritically elevates shame to the theme of every discussion, it behooves the Germans to feel truly ashamed for lending their support to this [odious] enterprise.

(Republished from Takimag by permission of author or representative)
• Category: History • Tags: Germany, World War II 
Current Commenter

Leave a Reply - Comments on articles more than two weeks old will be judged much more strictly on quality and tone

 Remember My InformationWhy?
 Email Replies to my Comment
Submitted comments have been licensed to The Unz Review and may be republished elsewhere at the sole discretion of the latter
Commenting Disabled While in Translation Mode
Subscribe to This Comment Thread via RSS Subscribe to All Paul Gottfried Comments via RSS