DID YOU READ

What “Inglourious Basterds” Owes to History

What “Inglourious Basterds” Owes to History (photo)

Posted by on

[Spoilers ahead for those who haven’t seen “Inglourious Basterds.”]

There have been two moments in film this year that have moved me to my cine-loving core. Both involved individuals stirred by the power of image, art and mythology. And both illustrated a personal investment for each character (some, real-life characters), revealing a potent significance and identification — something that ascended beyond mere fandom. Simple and yet complex, these moments were meaningful to these people.

One, occurred in Michael Mann’s “Public Enemies.” Watching John Dillinger (played by Johnny Depp) fatefully sitting inside the Biograph watching Clark Gable as Blackie, essentially playing a version of Johnny (John Dillinger) in “Manhattan Melodrama,” the look on J.D.’s face was gripping. And not only because we know what’s going to happen to the legendary gangster once he steps out of that theater, but for all of the imagined ideas going through Dillinger’s head at that moment. How could he not think of his girl (or any girl he’d like to sleep with that night) while basking in the gorgeousness of Myrna Loy? How could he not ponder the picture’s ending? And how could he not get a kick out of the very idea, that he, the most popular American criminal at that time, was watching the most beloved Hollywood movie star at that moment? An Icon for an icon. And then, as he exists the theater, a cowardly tooth for a tooth.

And then there’s the moment in the movie of discussion here, Quentin Tarantino’s “Inglourious Basterds,” a moment that, given all of the controversy surrounding the picture’s violence, is one filled with human empathy and, as Tarantino said, tragedy that’s closer to “Romeo and Juliet.” It’s when theater owner Shosanna (Mélanie Laurent), a French Jew seeking vengeance for the execution of her family, agrees to hold the premiere of war hero Fredrick Zoller’s (Daniel Brühl) picture “Nation’s Pride.” Readying for her spectacular final act, in which the movie will cut to her giant, beautiful face declaring that all of the Nazis in attendance (including Goebbels and Hitler) are going to die (“look deep in the face of the Jew who’s going to do it”), Shosanna is abruptly interrupted by Zoller himself. Ducking out of his own movie because he doesn’t like watching violence, the young, smitten man comes on strong, and in order to defend herself and complete her mission, she shoots him.

But then… she glances at his movie from the projection booth. While all of the Nazi top brass have been gleefully enjoying the blood-soaked antics of Zoller, Shosanna responds to an intimate moment. Her face softens as Zoller, in beautiful black and white, takes a breather from the carnage and appears quite emotional and even, a bit tortured. Acting? Perhaps. But ever the cinema lover, it’s upon watching his face on screen (not writhing on the floor) that she walks towards his half-dead body, emotional about what she’s done. And like John Dillinger, just that act of taking in a movie facilitates her own demise. Zoller shoots her.

But unlike John Dillinger, she gets the final payback — and through her own movie. With help from her black lover Marcel (Jacky Ido), she takes down the “despicable German swine” Bill Epton-style: “Burn, baby, burn.”

09012009_Inglourious4.jpgIs Tarantino glamorizing violence here? To be blunt about it, hell, yes, he is. Should we feel guilty about it? To be even blunter, fuck no.

And I’m not simply being flip with this declaration. I’m not trying to trivialize the real-life atrocities that occurred under Hitler during World War II (or under President Truman for that matter, let’s not forget Hiroshima, Nagasaki and Japanese internment camps). And neither is Tarantino, who though never shy about expressing pro-vigilance in real life (and that’s his own business, frankly), crafts a movie that delivers both pulpy satisfaction and a complicated look at how we process violence — historical, personal or otherwise. All of his pictures, from “Reservoir Dogs” to “Jackie Brown” to “Kill Bill” to “Basterds,” have revealed the filmmaker’s interest in the grandeur and meaning of violence, aesthetically and thematically. And many filmmakers, from Cecil B. DeMille to Samuel Fuller to Sam Peckinpah to Stanley Kubrick have crafted works of violent beauty. But that was the past, and as controversial as “The Wild Bunch” or “A Clockwork Orange” were in their day, most critics find these pictures acceptable — classics — working on a different level. Enough has been written. Not so with Tarantino. And so the reaction? Outrage!

Watch More
FrankAndLamar_100-Trailer_MPX-1920×1080

Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

Posted by on

“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

Watch More
Brockmire-103-banner-4

Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

Posted by on

He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

Watch More
Brockmire_101_tout_2

Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

Posted by on
GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

Watch More
Powered by ZergNet