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Opis
- Ilość płyt: 1
- Aktorzy: Brad Pitt,Diane Kruger,Mélanie Laurent,Christoph Waltz,Daniel Brühl
- Reżyser: Quentin Tarantino
- Producent Filmu: Quentin Tarantino,Lawrence Bender
- Format Filmu: PAL
- Napisy dla niesłyszących: Brak Polskiego,Angielski
- Napisy: Brak Polskiego,Arabski,Duński,Fiński,Węgierski,Islandzki,Norweski,Szwedzki
- Audio: Brak Polskiego,
- Dubing: Brak Polskiego,Węgierski
- Studio: Universal Pictures
- Czas: 152 minut
- Region: 2
Quentin Tarantino directs this ensemble action drama set in Europe during World War Two. In the first of two converging storylines, Shosanna (Melanie Laurent), a young Jewish woman in occupied France, seeks to avenge the death of her parents by the Nazis after narrowly escaping execution herself and fleeing to Paris. There she creates a new identity for herself as the owner and manager of a cinema. Meanwhile, a group of Jewish American soldiers known as 'The Basterds', led by First Lieutenant Aldo Raine (Brad Pitt), joins forces with German actress and undercover agent Bridget von Hammersmark (Diane Kruger) to take down the leaders of The Third Reich. The Basterds cross paths with Shosanna when her cinema, which has been commandeered by the Nazis for the screening of their latest propaganda film, becomes the target for their next attack. However, unbeknown to them, Shosanna has devised a revenge plan of her own. Christoph Waltz gained the Best Supporting Actor Awards at both the 2010 BAFTAs and Academy Awards for his portrayal of the devious Colonel Hans Landa.
From
The first Quentin Tarantino film to be made and released in the high definition era, hopes were understandably high for the Blu-ray of Inglourious Basterds. Fortunately, the disc pretty much delivers what you’d want from it.
The film pulls together an ensemble cast led by Brad Pitt, who heads up the Basterds of the film’s title. They’re a group of commandos working behind enemy lines, who look to strike the Nazis where it hurts. Yet the film works best when it focuses elsewhere, ironically, in particular on Christoph Waltz’s stunning depiction of Nazi officer Landa. He’s at the heart of the film’s finest moments, and is rightly attracting many awards for his performance. He’s the peak of a strong movie, and Inglourious Basterds ranks as one of Tarantino’s most downright enjoyable films to date.
As for the Blu-ray? The transfer of the film is very sharp and very impressive, and rewards the high definition premium. As does the active and vibrant surround sound mix, which picks up both the subwoofer-engaging moments of mayhem along with the subtler moments with ease. It’s the finest way to watch Inglourious Basterds outside of a cinema. Now we just need Tarantino’s back catalogue to get the proper high definition upgrade treatment too… --Jon Foster
Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale.
Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colours and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.
Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
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