1."The Green Leaves of Summer" - Nick Perito (Originally in The Alamo)
2."The Verdict (La Condanna)" - Ennio Morricone (mislabled "Dopo la condanna")
3."White Lightning (Main Title)" - Charles Bernstein (Originally in White Lightning)
4."Slaughter" - Billy Preston (Originally in Slaughter)
5."The Surrender (La resa)" - Ennio Morricone
6."One Silver Dollar (Un Dollaro Bucato)" - Gianni Ferrio
7."Davon geht die Welt nicht unter" - Zarah Leander
8."The Man with the Big Sombrero" - Samantha Shelton & Michael Andrew
9."Ich wollt, ich wär ein Huhn" - Lilian Harvey & Willy Fritsch
10."Main Theme from Dark of the Sun" - Jacques Loussier
11."Cat People (Putting Out Fire)" - David Bowie (Originally in Cat People)
12."Tiger Tank" - Lalo Schifrin (Originally in Kelly's Heroes)
13."Un Amico" - Ennio Morricone
14."Rabbia e Tarantella" - Ennio Morricone
Showing posts with label inglorious basterds. Show all posts
Showing posts with label inglorious basterds. Show all posts
Wednesday, 16 February 2011
Wednesday, 9 February 2011
Postmodern aspects.....
Inglourious Basterds has many postmodern aspects. However, there are a few that stand out to me more than others. One aspect that does is the music. The music in the film doesnt relate to a war film in any kind of way and is more like music you would see in a avaerage action or comedy film. All the different pieces of music are taken from other films such as spaghetti westerns and are in no way either dramatic or sad, which is what you would expect to see in a war film.
Another aspect of postmodernism in Inglorious Basterds that really stands out at me is the fact that unlike a typical war film, none of the actors/actresses seem to end up with a hair out of place, even though they're on a killing spree. Compared to a war film like saving private ryan it is very glamourous and clean, and you definatley wouldnt expect to see that in a war film.
Another aspect of postmodernism in Inglorious Basterds that really stands out at me is the fact that unlike a typical war film, none of the actors/actresses seem to end up with a hair out of place, even though they're on a killing spree. Compared to a war film like saving private ryan it is very glamourous and clean, and you definatley wouldnt expect to see that in a war film.
Monday, 7 February 2011
Inglourious Basterds reviews...
Rotten Tomatoes: A classic Tarantino genre-blending thrill ride, Inglourious Basterds is violent, unrestrained, and thoroughly entertaining.
The Guardian: Quentin Tarantino's cod-second world war adventure is a transcendentally disappointing dud, in which Brad Pitt delivers his most charmless performance to date.
IDMB: It just goes to show how wrong you can be. I had not expected to like this film. I was disappointed by both the Kill Bill films (although i preferred the second) and Death Proof (although it was better in the shorter cut of the double-bill release). I love Reservoir Dogs, admire Pulp Fiction and think that Jackie Brown is Tarantino's most mature piece of film-making - technically his most superior - including the last great performance elicited from Robert De Niro. Since then it seems to me while his films have been okay (i haven't hated them) he has been treading water in referential, reverential, self-indulgent juvenilia. The film is audacious and hilarious. After a summer when nearly every film has disappointed me it came as a huge surprise that the real fun and entertaining, but also involving and impressive film should be this one, when i would never have believed it from script form. Welcome back QT.
The Guardian: Quentin Tarantino's cod-second world war adventure is a transcendentally disappointing dud, in which Brad Pitt delivers his most charmless performance to date.
IDMB: It just goes to show how wrong you can be. I had not expected to like this film. I was disappointed by both the Kill Bill films (although i preferred the second) and Death Proof (although it was better in the shorter cut of the double-bill release). I love Reservoir Dogs, admire Pulp Fiction and think that Jackie Brown is Tarantino's most mature piece of film-making - technically his most superior - including the last great performance elicited from Robert De Niro. Since then it seems to me while his films have been okay (i haven't hated them) he has been treading water in referential, reverential, self-indulgent juvenilia. The film is audacious and hilarious. After a summer when nearly every film has disappointed me it came as a huge surprise that the real fun and entertaining, but also involving and impressive film should be this one, when i would never have believed it from script form. Welcome back QT.
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