Donny doesnt give a fuck, is how Eli Roth sums up the bloody-minded motivations of his character in Quentin Tarantinos delirious new WWII film, Inglourious Basterds. A Boston-bred Jewish kid turned soldier who is fully aware of the existence and breadth of the Holocaust as its occurring, and is motivated by inconsolable rage towards Nazis as a result, Donny is one of many carefully-sculpted, subtly modernized characters in a film that is itself a counterfactual kaleidoscope, cut loose from the moorings of history and propelled solely by the emotional impulses of its makers. Donnys blind, seething anger and the justice he dispenses with a baseball bat are the secret weapons of the Basterds, an unlikely platoon of Jewish-American soldiers dropped into Nazi-occupied France by the Allies to act as a roving insurgency, capturing and mutilating Nazi stragglers in order to unnerve the German high command. At least, thats their mission until they become tasked with something even grander a top-secret assignment to target the Nazi leadership, which is personally shepherded by a cigar-chomping Winston Churchill.
Among other things, Inglourious Basterds is ultraviolent, which makes it not utterly new terrain for Roth, who is a long-time friend of Tarantino, as well as the writer/director of the horror smash Hostel and its criminally-underrated sequel, Hostel: Part II. Time and again, Roths work has examined the notion of pleasure as a counterpoint to pain, putting a microscope to characters who secretly relish the opportunity to cause suffering in others, and with Basterds he deepens that examination considerably. Few would doubt the righteousness of Donnys cause, yet this is a soldier for whom revenge has seemingly become indistinguishable from bloodlust; for whom torture and execution are a personal reward, to the point that its impossible to imagine him existing within the confines of a real army, or even a more traditional war film. Roth recently called up SuicideGirls to discuss the real-life implications of playing a man consumed with a desire to take Nazi hides, as well as Nations Pride, Inglourious Basterds faux Nazi propaganda film-within-a-film that bears his directorial stamp.
Eli Roth: So you do the interviews for SuicideGirls now?
Ryan Stewart: Some of them, yeah.
ER: I remember talking to Daniel Robert Epstein a couple of times, before he passed away.
RS: He was the man. Nobody did it better.
ER: I know. He was a good dude, youve got some big shoes to fill. But Im looking forward to talking to you. I really love the site. I always thought the film interviews, in particular, on the site were really, really fantastic.
RS: Well, youre talking to a guy who saw Hostel: Part IIfour times in the theater, so I think well get along fine.
ER: I love it, thank you. Youre the one!
RS: Yep. I made my contribution to whatever the box-office was.
ER: It did well. It did better than people think it did. It did well enough for them to make a number three, lets put it that way. Its running on cable now, so a lot of people who missed it in the theaters are finally catching it. Also, there was a thing in Entertainment Weekly this week where they listed the twenty greatest horror films of the past twenty years and Hostel: Part IIwas on there. I thought that was nice.
RS: I remember thinking that Lauren German, in particular, deserved a lot more positive attention than she got. She really knocked that role out of the park.
ER: Lauren German is a kind of unsung hero of film. Shes done a lot of indie movies and I wanted Hostel II to blow her up. I think people who see her really do respond to her. Shes a superb, superb actor and I was lucky to work with her. She was really great.
RS: Youre probably starting to become an expert on shooting in Europe.
ER: My third movie in Europe! And my second fake trailer, fake movie. Ive made three movies in Europe and two fake movies in Europe Thanksgiving and Nations Pride. I love shooting in Europe. I really had incredible experiences on both Hostel movies, and it was a very similar type of crew, a similar method of working, with the German crews in Berlin. It was great, I loved it, and it was very strange for me to be there as an actor. I remember my first crew production meeting as the splinter unit director on Nations Pride, and my first instinct was to answer every question, so it was a little strange to sit there next to Quentin while he went around the room with people. But yeah, I loved shooting over there. I like getting out of my element. I like getting outside my comfort zone and going to a new country and exploring a new city and learning a new language and making new friends. Id love to shoot in every country in the world, make a movie in every different country.
RS: Did you outline Nations Pride as a feature? Was it all Quentins conception?
ER: Well, what happened was that Quentin had the story in the script. You know, Zoller in the tower firing at the American soldiers. And he had the location picked. And he had some very specific moments, like the Bo Svenson line and the Who wants to send a message to Germany! I think there were three specific moments that Quentin wanted to shoot. It was all Quentins idea, he just said I need battle footage, so he thought maybe just some guys firing and Zoller firing back. And I just gave him two hundred shots in five and a half minutes. In the script Zoller picks a guy apart, so I specifically shot two squibs in the shoulder and him shooting at a guys knees. I also flew my brother Gabriel to Berlin and he was my second-unit director, cause I had all these sequences that I wanted to do. We shot piles of bodies getting higher and higher, guys running and falling over walls and being thrown out of buildings. I really wanted it to feel like a war epic. And I came up with this bit of Zoller carving the swastika and Quentin loved it. It was all about the swastika: the swastika and the bullets, Zoller turning and you see the swastika on his helmet, then we showed bullets covering the swastika and theres been a passage of time and he uncovers it and the power of the swastika gives him the power to continue fighting. [laughs] It was a very interesting experiment for me, pushing myself that hard both as an actor and as a director, and also filming that kind of subject mater. Tonally, it was very different for me. I loved shooting in black and white, I loved shooting that kind of 1940s hammy acting, but I didnt want it to be a joke. I wanted it to look like an authentic propaganda film. Quentin was ecstatic he said Eli, if I had done this it would have been like eight shots, and you did two hundred shots! That was like a thank you to him, for everything hes done for me.
RS: Was it emotionally difficult for you, getting those shots? Or all business?
ER: Yeah, it was all business. I mean, I didnt want it to be a watered-down propaganda movie. The purpose of the film, Nations Pride, was for it to be shown in the context of Hitler enjoying it, so I knew the more authentic it was, the more self-aggrandizing it was, the more ridiculous it would make Hitler and Goebbels look. So, I wasnt making it in order to make the greatest Nazi movie every made, I was making a movie that would show just how ridiculous and self-aggrandizing those buffoons were. They just look like apes when they are sitting and laughing at that stuff and enjoying it. So, sadly, it was all too accurate a lot of people thought it was an actual propaganda film. They didnt even realize that I had shot that footage, and I took that as a very high compliment. But no, it was actually much more difficult to film the acting scenes. The directing I love, I get more and more excited as Im getting my shots, and when I tackle a subject matter I dive into it fully, so that by the time Im shooting Ive already gotten over anything that I might be uncomfortable with long before. But when I was shooting that scene where I beat Rachtman to death beat his head in with a baseball bat I put on forty pounds of muscle for the part. I went into that character. I said, if Im gonna do this, if Im gonna be on screen next to Brad Pitt, Ive got to dive in like Peter Sellers or Robert De Niro. I had to become the role, and I had always wanted to do that, but I never had a reason to.
Writing and directing is my passion, but when Quentin put this opportunity in front of me, I knew right away that I would have to prove to everyone that there was a very specific reason why Quentin cast me and no one else in that part, and that it had nothing to do with us being friends, and that it wasnt because weve made movies together. It was because he wanted a Jewish guy from Boston, he wanted a guy who could bring intensity, and he felt that I had a talent for acting that I had never mined or pushed myself to fully realize. And now this was a reason to do it. I also knew that I had to win over everyone instantly when I came out of that cave, and it wasnt just about me putting on muscle, you had to see the look in this guys eyes. You had to look in his eyes and see in his face the pain and the anguish and the murderous rage. You had to know that he is going to beat every Nazi to death that he comes across. To do that, I had to dredge up the most painful experiences of my life. And I found that after shooting, even though the scene was fake, the things that I was thinking of were so real that I was just devastated. I just wanted to crawl into a hole and die. But I made myself do it repeatedly, day after day, so it was really intense. The acting was a much more intense experience than the directing. With directing, I get physically tired, but I push that aside because I know Im getting my pieces and the film is gonna work great. But with acting, you are in your head, in your zone, in all of these moments, and then at the end of the day it doesnt just go away. You cant just turn it off.
RS: I would think that creating a backstory for Donny would be unnecessary for you. He seems like such a force of nature a vessel fueled by your own emotions.
ER: Youre wrong, because you cant do that without the backstory. You cant just come out and say This is who I am, and Im mad! You have to know that there is a backstory, and that he feels like a real guy. The fact that he feels like a real guy to you means that there is a backstory. Everybody in the film has a backstory. That was the first thing Quentin said to me, he said This isnt Death Proof, which is just a character of a guy who is just showing up and joking around and trying to pick up a girl in a bar and its not that much of a character. There was no backstory for that guy, he was just friends with the other guy. This, Quentin said, was to be a 360 degree character, and its not just going to be lifting weights to prepare for the part, Id have to know this guy like I know my best friend. Id have to know who his parents are, his brothers, his sisters, everything about him, his entire life story. When we got to Berlin, everyone sat around and the first thing we did was to talk about who we are, where we were, and we just talked about everything in character. There were some people who couldnt keep up and they were fucking gone the next day. It was a military operation. If you couldnt keep up, you were out. And there were scenes that we filmed of Donny in Boston cutting hair, and I trained to cut hair for the role. There was a scene that was cut if Quentin shoots his prequel hes gonna use it and producer Pilar Savone, her father owns Umberto salons in Beverly Hills, and Umberto trained me to cut hair! So, I was willing to cut hair for the part I was that serious about it. Everything has to feel real and full to you, even if its never discussed and never explained. You know who Donny is, you know how he relates to the script, you know how the other guys relate to him. And yes, hes in it for that moment, but he has to make an impact. Theres a reason why Floyd pops in True Romance and why Christopher Walken pops in Pulp Fiction, and its not just because they got the funny lines. Theres a full character there with a life and a backstory. Once you see them, you remember them theyre real people. Quentin demanded that everyone create a 360 degree character. Quentin knows and you as an actor know where theyve been before the war, during the war, after the war, and if theyre killed what they would have gone on to do. Thats what separates Quentin from everyone else, he thinks of the movie to that level of detail. And even if there are scenes in your pocket that are never seen, its all stuff that contributes to making it feel real.
RS: The scene where you confront Rachtman, the captured Nazi, is unnerving because hes so righteous. Hes convinced that of the two of you, hes the good and noble character.
ER: We discussed it in the rehearsal period, and thats what made the scene interesting. I think Donny doesnt give a fuck either way. Hes seen that before. This is a guy thats already beaten so many Nazis to death, and hes seen them terrified, and hes seen them try to act brave, but what made Rachtman an interesting character was that Quentin shows us that the guy has dignity. Hes gonna die a brave war hero. I think Quentin does a wonderful job there of creating someone who is very real and human and does not see himself as the bad guy. But I think that, for Donny, this doesnt phase him at all. He just doesnt give a fuck. Hes seen everything in the book and hes not intimidated by anybody. Hes gonna fucking pummel them. They can act as brave as they want, he doesnt give a shit. Hes going to demolish them. His job, when he comes out of that cave, is to terrify the other guys that are alive. Thats what Donny is there for, because we need information out of them. So, this guy knows that hes dead and he wants to die with dignity fine. Donnys gonna make it entertaining either way. But thats what I thought made it great, that little encounter between the two of them right before he smashes them with a bat. That made it really, really interesting. We had a wonderful time doing that scene.
RS: Quentin has expressed admiration in the past for some films of the period, mountain films and other stuff. Whats your position on those German directors?
ER: Mixed emotions. There are some amazing, amazing films of that period, but the directors that were Nazis, I dont watch their movies on principle. I think Riefenstahl was a good filmmaker. You watch her films and they are well-made films, but there are so many other directors whose films Id rather watch! [laughs] Most of the directors from that world at the time fled Europe for Hollywood. They fled the Nazis. So, yeah, those filmmakers [who stayed behind in Germany] disgust me. I want to kill them. If I saw Nazi filmmakers today, I would kill them. Thats how I feel about them, to be honest. I dont want to dignify their work, based on what they did. But then you have to draw a line its like, are you going to do that with every artist and every filmmaker? But the Holocaust is such a personal thing to me. Many distant relatives of mine were murdered in it, and anyone who contributed to that, I want to see them killed.
RS: Some have compared the last act of this film to Raiders of the Lost Ark. Its obviously a much lighter entertainment, but both films evoke a sense of almost divine retribution.
ER: Well, the end of this movie is a cathartic ending, but at a certain point when you see the Nazis burning, their uniforms burn off. Theres a point in that fire sequence where its not enjoyable anymore and thats a good thing. People should feel a bit uncomfortable and suddenly recognize that these are human beings that are being torched in that scene. And its not God coming down and doing it. Its human beings doing it. The Nazis effectively built an oven with their own propaganda. They built their own inferno. So, I feel like its a much more complex and a much different film than Raiders of the Lost Ark. The purpose of Raiders is to have you cheering at the end of it, but with Inglourious Basterds its a kind of reserved cheer. The purpose wasnt for us to get a bigger cheer than Raiders, I think this is a different movie trying to achieve different things. People feel good about the ending, but its not to the point that the theater erupts in joy. The scene goes on long enough that we say, wait a minute, these are people too. The fact that you are affected by it shows that youre in touch with your human side.
Inglourious Basterds opens in theaters everywhere today.
Among other things, Inglourious Basterds is ultraviolent, which makes it not utterly new terrain for Roth, who is a long-time friend of Tarantino, as well as the writer/director of the horror smash Hostel and its criminally-underrated sequel, Hostel: Part II. Time and again, Roths work has examined the notion of pleasure as a counterpoint to pain, putting a microscope to characters who secretly relish the opportunity to cause suffering in others, and with Basterds he deepens that examination considerably. Few would doubt the righteousness of Donnys cause, yet this is a soldier for whom revenge has seemingly become indistinguishable from bloodlust; for whom torture and execution are a personal reward, to the point that its impossible to imagine him existing within the confines of a real army, or even a more traditional war film. Roth recently called up SuicideGirls to discuss the real-life implications of playing a man consumed with a desire to take Nazi hides, as well as Nations Pride, Inglourious Basterds faux Nazi propaganda film-within-a-film that bears his directorial stamp.
Eli Roth: So you do the interviews for SuicideGirls now?
Ryan Stewart: Some of them, yeah.
ER: I remember talking to Daniel Robert Epstein a couple of times, before he passed away.
RS: He was the man. Nobody did it better.
ER: I know. He was a good dude, youve got some big shoes to fill. But Im looking forward to talking to you. I really love the site. I always thought the film interviews, in particular, on the site were really, really fantastic.
RS: Well, youre talking to a guy who saw Hostel: Part IIfour times in the theater, so I think well get along fine.
ER: I love it, thank you. Youre the one!
RS: Yep. I made my contribution to whatever the box-office was.
ER: It did well. It did better than people think it did. It did well enough for them to make a number three, lets put it that way. Its running on cable now, so a lot of people who missed it in the theaters are finally catching it. Also, there was a thing in Entertainment Weekly this week where they listed the twenty greatest horror films of the past twenty years and Hostel: Part IIwas on there. I thought that was nice.
RS: I remember thinking that Lauren German, in particular, deserved a lot more positive attention than she got. She really knocked that role out of the park.
ER: Lauren German is a kind of unsung hero of film. Shes done a lot of indie movies and I wanted Hostel II to blow her up. I think people who see her really do respond to her. Shes a superb, superb actor and I was lucky to work with her. She was really great.
RS: Youre probably starting to become an expert on shooting in Europe.
ER: My third movie in Europe! And my second fake trailer, fake movie. Ive made three movies in Europe and two fake movies in Europe Thanksgiving and Nations Pride. I love shooting in Europe. I really had incredible experiences on both Hostel movies, and it was a very similar type of crew, a similar method of working, with the German crews in Berlin. It was great, I loved it, and it was very strange for me to be there as an actor. I remember my first crew production meeting as the splinter unit director on Nations Pride, and my first instinct was to answer every question, so it was a little strange to sit there next to Quentin while he went around the room with people. But yeah, I loved shooting over there. I like getting out of my element. I like getting outside my comfort zone and going to a new country and exploring a new city and learning a new language and making new friends. Id love to shoot in every country in the world, make a movie in every different country.
RS: Did you outline Nations Pride as a feature? Was it all Quentins conception?
ER: Well, what happened was that Quentin had the story in the script. You know, Zoller in the tower firing at the American soldiers. And he had the location picked. And he had some very specific moments, like the Bo Svenson line and the Who wants to send a message to Germany! I think there were three specific moments that Quentin wanted to shoot. It was all Quentins idea, he just said I need battle footage, so he thought maybe just some guys firing and Zoller firing back. And I just gave him two hundred shots in five and a half minutes. In the script Zoller picks a guy apart, so I specifically shot two squibs in the shoulder and him shooting at a guys knees. I also flew my brother Gabriel to Berlin and he was my second-unit director, cause I had all these sequences that I wanted to do. We shot piles of bodies getting higher and higher, guys running and falling over walls and being thrown out of buildings. I really wanted it to feel like a war epic. And I came up with this bit of Zoller carving the swastika and Quentin loved it. It was all about the swastika: the swastika and the bullets, Zoller turning and you see the swastika on his helmet, then we showed bullets covering the swastika and theres been a passage of time and he uncovers it and the power of the swastika gives him the power to continue fighting. [laughs] It was a very interesting experiment for me, pushing myself that hard both as an actor and as a director, and also filming that kind of subject mater. Tonally, it was very different for me. I loved shooting in black and white, I loved shooting that kind of 1940s hammy acting, but I didnt want it to be a joke. I wanted it to look like an authentic propaganda film. Quentin was ecstatic he said Eli, if I had done this it would have been like eight shots, and you did two hundred shots! That was like a thank you to him, for everything hes done for me.
RS: Was it emotionally difficult for you, getting those shots? Or all business?
ER: Yeah, it was all business. I mean, I didnt want it to be a watered-down propaganda movie. The purpose of the film, Nations Pride, was for it to be shown in the context of Hitler enjoying it, so I knew the more authentic it was, the more self-aggrandizing it was, the more ridiculous it would make Hitler and Goebbels look. So, I wasnt making it in order to make the greatest Nazi movie every made, I was making a movie that would show just how ridiculous and self-aggrandizing those buffoons were. They just look like apes when they are sitting and laughing at that stuff and enjoying it. So, sadly, it was all too accurate a lot of people thought it was an actual propaganda film. They didnt even realize that I had shot that footage, and I took that as a very high compliment. But no, it was actually much more difficult to film the acting scenes. The directing I love, I get more and more excited as Im getting my shots, and when I tackle a subject matter I dive into it fully, so that by the time Im shooting Ive already gotten over anything that I might be uncomfortable with long before. But when I was shooting that scene where I beat Rachtman to death beat his head in with a baseball bat I put on forty pounds of muscle for the part. I went into that character. I said, if Im gonna do this, if Im gonna be on screen next to Brad Pitt, Ive got to dive in like Peter Sellers or Robert De Niro. I had to become the role, and I had always wanted to do that, but I never had a reason to.
Writing and directing is my passion, but when Quentin put this opportunity in front of me, I knew right away that I would have to prove to everyone that there was a very specific reason why Quentin cast me and no one else in that part, and that it had nothing to do with us being friends, and that it wasnt because weve made movies together. It was because he wanted a Jewish guy from Boston, he wanted a guy who could bring intensity, and he felt that I had a talent for acting that I had never mined or pushed myself to fully realize. And now this was a reason to do it. I also knew that I had to win over everyone instantly when I came out of that cave, and it wasnt just about me putting on muscle, you had to see the look in this guys eyes. You had to look in his eyes and see in his face the pain and the anguish and the murderous rage. You had to know that he is going to beat every Nazi to death that he comes across. To do that, I had to dredge up the most painful experiences of my life. And I found that after shooting, even though the scene was fake, the things that I was thinking of were so real that I was just devastated. I just wanted to crawl into a hole and die. But I made myself do it repeatedly, day after day, so it was really intense. The acting was a much more intense experience than the directing. With directing, I get physically tired, but I push that aside because I know Im getting my pieces and the film is gonna work great. But with acting, you are in your head, in your zone, in all of these moments, and then at the end of the day it doesnt just go away. You cant just turn it off.
RS: I would think that creating a backstory for Donny would be unnecessary for you. He seems like such a force of nature a vessel fueled by your own emotions.
ER: Youre wrong, because you cant do that without the backstory. You cant just come out and say This is who I am, and Im mad! You have to know that there is a backstory, and that he feels like a real guy. The fact that he feels like a real guy to you means that there is a backstory. Everybody in the film has a backstory. That was the first thing Quentin said to me, he said This isnt Death Proof, which is just a character of a guy who is just showing up and joking around and trying to pick up a girl in a bar and its not that much of a character. There was no backstory for that guy, he was just friends with the other guy. This, Quentin said, was to be a 360 degree character, and its not just going to be lifting weights to prepare for the part, Id have to know this guy like I know my best friend. Id have to know who his parents are, his brothers, his sisters, everything about him, his entire life story. When we got to Berlin, everyone sat around and the first thing we did was to talk about who we are, where we were, and we just talked about everything in character. There were some people who couldnt keep up and they were fucking gone the next day. It was a military operation. If you couldnt keep up, you were out. And there were scenes that we filmed of Donny in Boston cutting hair, and I trained to cut hair for the role. There was a scene that was cut if Quentin shoots his prequel hes gonna use it and producer Pilar Savone, her father owns Umberto salons in Beverly Hills, and Umberto trained me to cut hair! So, I was willing to cut hair for the part I was that serious about it. Everything has to feel real and full to you, even if its never discussed and never explained. You know who Donny is, you know how he relates to the script, you know how the other guys relate to him. And yes, hes in it for that moment, but he has to make an impact. Theres a reason why Floyd pops in True Romance and why Christopher Walken pops in Pulp Fiction, and its not just because they got the funny lines. Theres a full character there with a life and a backstory. Once you see them, you remember them theyre real people. Quentin demanded that everyone create a 360 degree character. Quentin knows and you as an actor know where theyve been before the war, during the war, after the war, and if theyre killed what they would have gone on to do. Thats what separates Quentin from everyone else, he thinks of the movie to that level of detail. And even if there are scenes in your pocket that are never seen, its all stuff that contributes to making it feel real.
RS: The scene where you confront Rachtman, the captured Nazi, is unnerving because hes so righteous. Hes convinced that of the two of you, hes the good and noble character.
ER: We discussed it in the rehearsal period, and thats what made the scene interesting. I think Donny doesnt give a fuck either way. Hes seen that before. This is a guy thats already beaten so many Nazis to death, and hes seen them terrified, and hes seen them try to act brave, but what made Rachtman an interesting character was that Quentin shows us that the guy has dignity. Hes gonna die a brave war hero. I think Quentin does a wonderful job there of creating someone who is very real and human and does not see himself as the bad guy. But I think that, for Donny, this doesnt phase him at all. He just doesnt give a fuck. Hes seen everything in the book and hes not intimidated by anybody. Hes gonna fucking pummel them. They can act as brave as they want, he doesnt give a shit. Hes going to demolish them. His job, when he comes out of that cave, is to terrify the other guys that are alive. Thats what Donny is there for, because we need information out of them. So, this guy knows that hes dead and he wants to die with dignity fine. Donnys gonna make it entertaining either way. But thats what I thought made it great, that little encounter between the two of them right before he smashes them with a bat. That made it really, really interesting. We had a wonderful time doing that scene.
RS: Quentin has expressed admiration in the past for some films of the period, mountain films and other stuff. Whats your position on those German directors?
ER: Mixed emotions. There are some amazing, amazing films of that period, but the directors that were Nazis, I dont watch their movies on principle. I think Riefenstahl was a good filmmaker. You watch her films and they are well-made films, but there are so many other directors whose films Id rather watch! [laughs] Most of the directors from that world at the time fled Europe for Hollywood. They fled the Nazis. So, yeah, those filmmakers [who stayed behind in Germany] disgust me. I want to kill them. If I saw Nazi filmmakers today, I would kill them. Thats how I feel about them, to be honest. I dont want to dignify their work, based on what they did. But then you have to draw a line its like, are you going to do that with every artist and every filmmaker? But the Holocaust is such a personal thing to me. Many distant relatives of mine were murdered in it, and anyone who contributed to that, I want to see them killed.
RS: Some have compared the last act of this film to Raiders of the Lost Ark. Its obviously a much lighter entertainment, but both films evoke a sense of almost divine retribution.
ER: Well, the end of this movie is a cathartic ending, but at a certain point when you see the Nazis burning, their uniforms burn off. Theres a point in that fire sequence where its not enjoyable anymore and thats a good thing. People should feel a bit uncomfortable and suddenly recognize that these are human beings that are being torched in that scene. And its not God coming down and doing it. Its human beings doing it. The Nazis effectively built an oven with their own propaganda. They built their own inferno. So, I feel like its a much more complex and a much different film than Raiders of the Lost Ark. The purpose of Raiders is to have you cheering at the end of it, but with Inglourious Basterds its a kind of reserved cheer. The purpose wasnt for us to get a bigger cheer than Raiders, I think this is a different movie trying to achieve different things. People feel good about the ending, but its not to the point that the theater erupts in joy. The scene goes on long enough that we say, wait a minute, these are people too. The fact that you are affected by it shows that youre in touch with your human side.
Inglourious Basterds opens in theaters everywhere today.
VIEW 5 of 5 COMMENTS
blightedxhope:
Inglorious Basterds was the fucking shit!!! LOVED it.
chobitz7:
Sorry eli, cheered liked fucking crazy in the finale. It was amazing.