The idea behind ‘The Basterds’ was a simple one. Just before the new year, having just watched Django Unchained for the first time, my wonderful girlfriend Natasha and I decided to revisit the complete directorial work of Quentin Tarantino.
In order to better understand Tarantino’s growth as a filmmaker, we would go back and rewatch one of his films each week, in chronological order starting with True Romance – which Taratino of course did not direct himself but which I believe is his most relevant writing directed by a different filmmaker – up through Django.
To supplement the films I put together 3-5 pages of primer notes for Natasha to read prior to each screening; these notes were based on my own research and analysis from my having seen each film several dozens times, with my hope being to help put each film into its proper context both in terms of the landscape to which it was first released as well as to show where it belongs as part of his career’s overall narrative.
By the time we’d completed the screening programme in April we had 40 pages of notes and analysis to consider, leading us to the idea of creating our own list of awards for the catalog. The name of the awards? Why, ‘The Basterds’, of course. Each of our lists for The Very Best of Tarantino is shared here for your consideration.
The two key takeaways from all this: 1) Tarantino is a cinematic force of nature, and 2) I have the coolest girlfriend in the world, and she is kind to humor me.
The Categories:
- Best Lead (Villain)
- Best Lead (Non-Villan)
- Best Minor Character
- Best Music Moment
- Best Scene/Moment
- Best Line
- Best Picture
Best Lead Villain
Trev – Winner: Col. Hans Landa (Christoph Waltz) – Inglourious Basterds
“The Jew Hunter” is a once-in-a-lifetime part: an absurd/droll/mannered/silver-tongued villain who is capable of great levity and outrageous rage in equal measure. He is a true bastard among Basterds. Waltz brings Tarantino’s words to life perhaps better than any actor he has ever worked with, and there is a movement and air about his performance that makes Landa a truly larger-than-life character. He earns the ultimate praise of any villain: we love to hate him. It’s a testament to Waltz that it now seems impossible to imagine anyone else in the role. Honourable Mention here goes to Calvin J. Candie, who is nearly Landa’s equal as a frightening – yet uncomfortably charming– villain; DiCaprio nearly steals Django in part by getting its best lines, but also by giving depth to this horrific character.
‘The Basterds’ continue, after the jump…
Low Culture, High Concept 