Tuesday, May 05, 2020

The Patriot

Starring Mel Gibbous in an American Revolution setting. I happen to be reading a bio of George Washington by James Flexner, so when I saw this nugget on Netflix, it seemed to fulfill a chord. 
Mel, the guy who gets the close ups, plays a widower with a brood of shiny kids, including Heath Ledger as the eldest. While revolution foments around him Mel wants no part. He suffers guilty for actions taken during the French and Indian War. Heath wants to his part and joins the militia, or maybe the Continental Army.
I won’t pretend that I paid close attention. There is a skirmish on Mel’s property and tho his family cares for wounded British soldiers, there are American soldiers there, including Heath.
The British officer takes Heath away. I don’t know who the actor is but I am pretty sure he is a product of dna hijinks. I mean the gimlet eyes and general bearing of evil incarnate, Hollywood needs a steady supply in any number of movies. Shuffle a few chromosomes to ensure a futurity of cinematic villains.
One of Mel’s younger sons attempts to prevent Heath’s removal and is shot. The odious officer orders the house burnt. Just maybe Mel will want revenge.
The children are sent to live with Mel’s sister-in-law and Mel somehow prevents Heath from being hanged, or hung. I honestly can’t remember how this occurred, some low level buckling of swash, but it got done. Now Mel’s angry.
Mel commits to the cause. The cause is revenge, by the way. So let’s see, glinting-eyed psychopath goes after families of insurgents. They track down Mel’s sister-in-law, caring for his brood. We have already seen Mel in bed with her, and the children, but he is staring at her and she at him. Molto creepy. Let the substitution begin!
The Brits arrive at night but a boy stood watch and warned everyone. Sister-in-law guides the children to the cellar while the guard boy hides beneath a table. I believe it is Mr Evil himself who enters the room. He even hears the click when the boy draws the hammer of his musket, but Mr Evil doesn’t open the door, the DOOR, behind which is the trap door to the cellar. Crisis averted. The family trod off to a safe place: a community of happy, free, black people. Well that’s nice. The two thirds citizen men and zero thirds citizen women. I didn’t mench that the SIL’s home was burned down. That will probably call for revenge.
There’s been action and sad face from Mel and his gang of desperados. One militia man kills himself after discovering his wife and child dead in reprisal. That may have been after Mel visited Cornwallis to bargain for the lives of 18 captured militia. He gives the esteemed British lord a spyglass to see in the distance 18 captured redcoats. Cornwallis affirms the trade, only later to discover that it was just uniforms tied to the stakes not soldiers.
The psychotic British officer visits a village where lives Heath’s newly-minted wife and others. He gathers them in the church then fires the it. That would be considered an atrocity, worthy of revenge.
On discovering this, Heath races off ahead of dad and the militia. He even finds, somehow, the very miscreant. A skirmish in which twice the number of redshirts as was in either party succumbs to righteous or evil endeavor. The reverend gets plugged just as Heath is about to get shot. That bad officer is loading his pistol but the reverend has just enough righteous pizzazz to toss his musket into Heath’s hands, and Heath plugs the heinous officer. Rather than check on the reverend, or do anything quickly, Heath stands over the fallen officer, readying to apply a coup de grace with his knife. Surprise! The officer isn’t dead enough, and stabs Heath to almost dramatic death with a sword. The officer ambles away, shaking off the musket ball in the torso. Mel arrives and swears a bit of vengeance. At the same time, he is not sure he wishes to carry on with this shit, tho his militia and nascent country need him.
Now Cornwallis is cornered. Mel offers the strategy of placing the militia in the front line, to soon scramble back drawing the Brits into contest with the Continental Army. And blah blah blah, Mel has to pick up a flag to inspire the payoff. The ever so tiresome final battle between these arch rivals. Mel looks sliced and diced but whoa, surprise, the bad guy dies. Freedom and stuff.
Mel’s performance struck me as overly thought. Evident moving of the gears. The tediousness of revenge here makes me think on this country and its current trials. The righteous anger bubbling so obviously here and there swollen by revenge’s call. Simplistically it is why is something something and I am not? My inalienable right to be free of face mask, my birthright as asshole, my god-given directive to be free of clear topic sentences. Mel can go on to drunken anti-Semitic rants because that’s what’s called birthright. Shitty movie if you kinda look at it. Last scene shows the cozy family together except two sons dead and the dead mother replaced.

Sunday, March 29, 2020

Poetry As Learned

When I went to Franconia College, my view of poetry broadened. No surprise to that. In high schooI I had two friends who also wrote poetry. We were the extent of each others' audience. I knew of a handful of poets but hadn’t read much in school or on my own.
I didn’t even like poetry. I wrote it because I had no interest in writing fiction. I liked reading stories but making that shit up seemed too formidable. I never thought about writing non-fiction. 
I became aware of e. e. cummings’ inveterate rule-breaking in high school, I suppose. His example served as a safe house for me to scribble and type the serious whatevers that I so earnestly wrote. I made effort to read but I hadn’t a clear trail. I really didn’t get poetry.
At Franconia, then, I read much more of other people's work, the published and the unpublished (other students). I was dutiful about this but I still didn't really enjoy much poetry.
My first year, I took a writing course. Creative writing, as they say. People presented poetry and fiction. The teacher didn't feel qualified to teach poetry, however, tho I found his critiques both thoughtful and credible. He wanted someone to teach poetry. The school instigated a search.
I remember three poets who gave readings (separately) as part of the search process. There may have been more. One was this forthright guy, comfortably named Joe. I liked him. He was hip but friendly. Another was more professorial, less hip than the first guy. He probably hoped for a more 'serious' school. Franconia was a loose place. I still refer to it as a hippie school. Sometime later, I saw an anthology edited by the guy. He must have made it to a more secure school. His wife joined him at the reading. As I recall she had what we would now call a goth presence. I recall a black dress, in contrast to the hippie boutique of the school community. An author photo for the anthology I mentioned shows her in the background in similar dark gothness.

Sunday, February 16, 2020

Robin Hood with Kevin Costner

I watched Robin Hood with Kevin Costner. Well, that’s a bit misleading, he never showed up so I watched alone. But Costner was in the movie. I initially saw it when it came out. I recognized that the movie was a bit sunny in its outlook the first time thru. I would now say that it presents a debauched sunniness.
Robin Hood, the character, endures. Costner's mid-Western niceness seemed a stretch in the role but Costner was really Costner at the time. You could shoehorn him into anything. And he had a larger than life aura, even if of an ordinary variety. Not exactly a preening Errol Flynn but Costner could carry the movie.
The tale begins with The Crusades. You know, Good versus Evil on the geo-political plane. Costner is imprisoned by the heathens but manages to escape. In the process he aids Moorish Heathen Morgan Freeman to escape, as well. Freeman thus pledges his life to Costner. This gets another A-Lister into the production, fannies in the seats. Hood returns to England with his Moor.
Robin's father is killed by you know who and Robin loses his inheritance. Robin gets on the wrong side of the law, we know the story. He meets Little John and they fight in a ford rather than on a log bridge. This shows Robin as a regular guy. He laconically takes leadership of the people of the forest, who didn’t seem to need the leadership. All this is prologue to the action.
The Sheriff of Nottingham is played by Alan Rickman. I believe this role put him on the map. His Sheriff is flamboyant, histrionic, and hilarious. Only thing is, he's a monster. The Sheriff's cousin reports to the Sheriff that Robin and his band have stolen the treasure the cousin was supposed to protect. The Sheriff casually, almost jokingly, stabs him to death. At another point, in a rant, the Sheriff declares that there will be no more humane beheadings. Again the jocular manner sounds heinous next to the idea of an inhumane beheading. Folks back then knew how to play inhumane. 
The folks of Sherwood Forest already had a village in the trees, one such as Tarzan might have devised. This village had nothing to do with Robin, yet the credit draws towards him. They already enjoyed communal bliss but Robin gave them leadership.
Lady Marian, cousin to King Richard, quickly shows she has salt of the earth in her veins. Also a spark for Robin. She attempts to send word to Richard concerning dirty business by the Sheriff. False priest ruins that and puts her at risk, plus the good folk of Sherwood.
The movie gets out of hand when the Sheriff sends a force against the no longer secret enclave. First a wild crew of Highlanders attack the good folk. It resembles a battle scene in Braveheart. They cause much slaughter but eventually run away. The Sheriff then unleashes archers with flaming arrows and catapults of burning matter. It looks like devastation, and mostly is. All available red shirts go to their reward except the small cadre of main characters and a few surviving red shirts who can be killed later, as needed. Looks kinda hopeless.
By rights the whole forest should have been burned down but at least the Sheriff had all known survivors to hang publicly. The unknown survivors, all six or so, worked out a plan. It is a convoluted plan dependent on perfect timing and luck. Of course it worked, but not before the scimitar-wielding Moor gives a rousing speech about freedom to the crowd that assembled to watch the hangings. He has spent his few moments onscreen showing the virtues of Arab culture (spyglasses, gun powder). He convinces the crowd to join Robin’s insurrection.
But wait! The Sheriff has to rape Lady Marian so that his blood mixes with royal, and thereby... Rickman plays this scene almost for laughs, which is very an off note. But Robin battles with the Sheriff. Here Rickman shows some physical grace. I mean not on the level of Flynn vs Rathbone but he moves really well. Costner does not so the filmmakers must accept a lucky win for Robin. And Friar Tuck gets to push the evil priest out a window with due righteousness. Freeman scores a late round victory over the outre crone who influenced the Sheriff, and we’re about done.
The final scene offers the marriage of Robin and Marian as the King and Queen of May, which is consistent with some of the ballads in the cycle. To this festivity arrives Sean Connery as King Richard. History says he returned by way of ransom money, he having been captured during his merrie jaunt to Jerusalem, but okay. Connery maintains a consistent smile, knowing he just made easy cash for dressing up like a Crusader and looking like Sean Connery.
So how does all this socialism of Sherwood Forest not get booed? Everyone should pull themselves up by the bootstraps. The big Red Cross on the backs of the king and his men proclaims a righteousness and victory, tho of course further Crusades piled up in the history books. Let’s pretend they all meant something good. We are left to wonder where all this communal unity and virtue went in years to come. Um, Brexit...

Monday, December 30, 2019

Oceans 11 and the Stiff Old Days

I am in the midst of watching the original Oceans 11, featuring Frank Sinatra and the Rat Pack.It proves itself a rather smothering revelation of cultural detritus. It also exists as a thriller heist movie, I suppose. It has a plot, to be sure. Oh and it’s a vehicle for the aforesaid Sinatra and his Mighty Rat Minions.
Somehow, I managed to read the book years ago. It was handy and I knew it existed as a movie too. I couldn’t keep up with the back stories in the book, for lack of interest. Also, I was busy trying to guess which character in the book was played by which Pack Rat. The book struck me with its grim nihilism, and not much else. It is much darker than Sinatra’s plaything.
I don’t care at all about the movie’s plot. I mean, ex-WWII comrades join forces to rob five Vegas casinos, sure. It is, as I said, a vehicle for the stars. Also, of course, a two hour ad for the enticements of Las Vegas.
The real interest sits with the cultural norms performed in every frame. My goodness, cigarettes are constantly dragged upon. And it is not just the smoking, it is the flair of lighting up, the pensive inhalation, the appropriate grip on the cigarette. The smoking ritual repeats in almost every scene. It is like there was no choice but to smoke.
In tandem with the smoking, the equally constant application of Jack Daniels to the manly spirit. Again the ceremony: ice tongs to drop ice cubes into rock glasses, followed by three ounces of Tennessee  whiskey and an avid gulp. This occurred either when entering a room or mid-sentence in a convo. Sentences end with a healthy sip. I’m just noting the cultural norm.
The boys hang together as a singular mass with minor incursions of dames. Men are from Mars, Women are from Neiman-Marcus: It is as simple as that. The separation is nearly complete. A couple of femmes annoyingly plead inclusion. Angie Dickinson is the only famous one, but that’s it. The heist is no pipe dream, it represents Purpose. Women thus are obstructions.
Dean Martin sings three songs, Sammy Davis jr. one so far. They do so for entertainment purposes, if you weren’t sure. Sammy plays a trash truck driver. We first see him in a group of similarly employed men. They’re all singing and playing harmonica. Sammy sings a showbizzy song that seems unlikely in the circs, tho just right for the inferred audience of the movie. He does all his stage motions too, which also looks unlikely but this aint real life.
So the movie shows a piece of history and the way we were, it promulgates the Sinatra mystique, and it dazzles with the entrancement of Las Vegas. It all seems old and foreign, as if people were never believable. People never really are, so it has that right. I may not need to finish the movie because I got the message.

Monday, October 14, 2019

Topsfield Fair

Beth and I attended the Topsfield Fair Sunday. It has allegedly been held these past two hundred years but it was my first time, as well as Beth’s.  We have both been to smaller fairs, me in NH, Beth in Alaska.

It was trafficky on the highway,  leaf-peeping time. Once off the highway, we slogged in line to the fair. We were directed to a field a couple miles from the fair. Parking on the fairgrounds had filled up an hour or more before the fair even opened. The field had an army of people directing cars to.parking places with a directive of economically using the available space. Shuttle buses brought us to the fair itself.

It was crowded, hey what. A nice, factory-issue autumn day. We were there for the livestock but it is not the most agrarian of fairs. Beth pointed out a cow with bloat. You could tell it was uncomfortable, it switched its tail, and nudged its expanded belly. I felt sad for the creature, and callous for looking at it.

Actually, I think our first act was buying fried dough. We had a few food vouchers and some cash for our gorging needs. I hate the captive audience food search common to such events, smug effing capitalism. Six bucks for a lump of dough fried in oil. Well, it was done well. Taken neat, no sugar or cinnamon, it was crisp on the outside, chewy inside, and not grease-soaked.

Eventually I needed actual food. I am one of regular feedings. A chicken fajita proved satisfying for me, Beth waited. I mean I could have fallen for deep-fried Oreos or some other scuzzy luxury. Elvis’ true vision.

The best part was going in where the draft horse were. Some turned their backs to us assholes, some preened. I didn’t see which but one started kicking loudly at its stall, the sound was alarming. The King Kong moment: I could imagine it busting free, wreaking vengeance on human perps.  Circs sort of amplified this feeling. Without calling people to evacuate the premises, people started removing the horses from their stalls. Handlers shooed us away while leading the massive horses away.

We moved to the arena, where three horse teams pulled wagons briskly. The horses moved in a high-stepped trot, with synchronized step. It was lovely to behold. I understand the lead horse sets the pace while the back two do the main pulling.

Rocks and fossils drew Beth’s attention. I consumed my fajita outside the tent before going in. You just have to give it up, get some on your shirt, standing around eating at a fair cannot be done neatly (Allen’s #1 Certitude). I saw a guy chomping on a turkey leg as he passed thru the crowd. Various fried foods on sticks, curious piles of enticing whatnot on paper plates. How about a sliced glazed donut with burger and bacon between? I  tried not to consume the foil wrap to my fajita. My second feeding was a pot roast sundae: meat, mashed potatoes, and corn in a cup with a cherry tomato on top. 

We saw bees, some wild-looking scarecrows, a massive pumpkin. A woman lead a pair of handsome horses around the arena sans any rope, just gestures.

We sat in the bleachers for the Dock Dogs competition. Dogs leap off a platform into a pool, the challenge being to go the furthest. The record, we were told, is more than 30’. One dog got out there more than 20’. Could have gone further. The dog’s handler threw the toy too high and the dog twisted to try to catch it. Lily could probably do well what with the booster rockets she has for hind legs.

Our visit ended as it began, with fried dough. Looked at some of the most beautiful Christmas trees ever. I don’t know why anyone would buy one now tho I suspect they would last a long time.

A bus ride back to the lot, and our car where we left it. A lovely New England day.

Sunday, September 15, 2019

Pulp Fiction

Pulp Fiction came out some twenty five years ago and only now do I see it. I have never been comprehensive in my movie watching. To me at least, few movies of such age hold up well. Pulp Fiction feels fresh, albeit imperfect.

Like Glorious Basterds, episodes twine loosely in Pulp Fiction. In fact, by the end of the movie the twining seems looser. The narratives become more discrete and relate less to each other. 

Having the vivid visual images of Jackson and Travolta burned into my brain as about all I knew of the movie, the opening scene had me somewhat at a loss. Amanda Plummer and Tim Roth at a restaurant talking petty crime. Where’s this going? Then they decide in an eruption to rob the place. Plummer’s sudden change from Honey Bunny to hellfire marks the first note of Tarantino’s bumptious hilarity. The scene *stops* in media res.

The next scene introduces Travolta and Jackson. We can start making sense. Tarantino’s strength, of course, is dialogue. His characters riff on whatever, often in the manner of Platonic dialogues. The dialogues don’t seem derived from the characters, however. Tarantino uses the characters as dummies for ventriloquism.

Before I go further, I should clear the air about John Travolta. I have avoided watching this movie and others because of Travolta’s presence. Something about him... He’s someone graced, and braced, by his look. Early on, even back to that atrocious sitcom, he discovered that his smile works. It is his confidence. Tho he has talent and skill, he trusts his smile more. His acting then becomes a strain. He can’t always use that smile so you see him thinking, scheming, to reach a place where he can use that smile. I see this in Tom Cruise as well. I won’t attach this to Scientology tho hmmm. So what I see is someone sweating too much, too self aware within the package of his character.

Anyway, the scene in which they visit the young guys, we see elooquent intimidation, a Hollywood staple, viz The Joker, most gangsters, masterminds, etc. Jackson starts as good cop then blithely kills one guy. He speechifies then he and Travolta shoot too many bullets into the second guy. All in a day’s work. Third guy huddles in a corner. End of Scene.

The episode with Uma Thurman shows off exotic nonsense like her hipster pad and the restaurant with Ed Sullivan as maitre d’/emcee. Travolta efforts to not get involved with Thurman, a gangster’s moll. Tarantino fractured our expectations of romance when Thurman snorts some overly righteous stuff she found in Travolta’s coat. She o.d.’s and we have a party of slapstick overdose humour.

I’ve said my say about Travolta. The rest of the cast seem like they’re having fun. Eric Stoltz as suburban drug dealer and Rosanna Arquette as his seedy wife. A shot of adrenalin saves Thurman and the scene ends with perchance romance in the offing.

The chapter with Bruce Willis is the most convoluted and superfluous. I place him in the same tank with Travolta and Cruise.  I guess he has some skill—albeit not on the harmonica—but not so much range. He plays a boxer who is supposed to throw a fight but doesn’t. He chases around trying to escape Thurman’s gangster. Things become more difficult when he has to go back to his apartment for the heirloom watch his father gave him. An earlier flashback/dream had Christopher Walken explain the history of that watch which Walkenfinally smuggled from a p.o.w. camp to be presented to the boxer as a then fatherless boy. The scene seemed so noble and telling until Walken, it had to be Walken, tells the boy he smuggled it in his ass. There is, by the way, no explaining Walken’s genius.

By chance Willis and the gangster meet and try to kill each other. Their battle enters a shop where the owner gets the best of both and ties them up. He and a cop, I don’t know how he got involved, take the gangster to another room and rape him. Just another shop of horrors. Willis frees himself and saves the gangster. That clears Willis who rides off into Hollywood happy ending. Tarantino playing to the cheap seats?

I didn’t mench that while back in his apartment Willis runs into Travolta, who was looking for Willis. Willis kills him, wait what?

We then go back to the scene where Jackson and Travolta apply muscle to the young guys. After Jackson’s interminable and not last recitation of a passage from Ezekiel a fourth guy comes out of hiding with gun blazing. And he misses. Jackson reads this as a sign from God.

The pair take the surviving guy. In the car Travolta accidentally shoots the guy. In a panic they get the gangster to call a fixer who, at the home of Jackson’s friend, played by Tarantino, helps them clean up and dispose of the car. The fixer is Harvey Keitel, who is lushly efficient and businesslike.

And after that, the two go to a restaurant for breakfast. Right, Amanda and Tim go forth with their robbery. Jackson calmly thwarts Tim but there’s a stand off with Amanda. Jackson invoked that damn Ezekiel passage again and lets the couple go, a sudsy happy ending. We are left thinking of Travolta’s imminent  doom. Except for that it’s a wishy washy ending.

Any Tarantino movie could be titled *Fun with Nihilism*.  That and the elegant violence seem consistent in his movies, from what I’ve seen. This movie had something of *Goodfellas* to it in the way it finds humour and elegance in the wrong places. Seems like he needs a grownup with him when he’s directing. Nonetheless, if you can take the violence and tidy grimness, this is a pretty fine movie. Even with John Travolta.

Wednesday, September 11, 2019

Glorious Basterds

Well, I watched this. I know Tarantino has certain roguish skills as a filmmaker, and excesses as well. Excesses plus John Travolta explain why I have yet to see Pulp Fiction. Brad Pitt, I don’t mind.

I had little sense of the movie when I began. It opens SS officer visits a dairy farm. With a courtesy that eventually becomes malevolent he interviews the farmer. Slowly and obsequiously the officer gets the farmer to admit he is hiding Jews. The actor playing the officer is outstanding.

The SS shoot up the hiding place but a woman escapes. The officer has her in his pistol’s sight but he doesn’t shoot for some reason. I don’t know if such urbane nastiness existed in the SS or anywhere, it feels more like a Hollywood  convention, but the scene sure was riveting.

That was Chapter One. The movie seems structured like a novel the way it presents the various threads. The threads come together in the end. So far so good.

The next chapter presents Brad Pitt as a lieutenant in command of a crack Nazi-killing outfit. It is not explained why this little band exists or how. Any number of Hollywood movies feature similar righteous bands of good guys on an extracurricular mission. The soldiers are all Jewish. Pitt is a Southerner with a healthy Army drawl. He and the SS officer carry the film.

After the creepy SS officer, Pitt’s character is downright comedic. Pitt seems comfortable with the accent and the accent doesn’t feel overdone. At this point I realized that Tarantino was doing a Coen Brothers movie: edgy, skewed, oddly funny. The band’s reputation precedes it. Except for Pitt, the outfit is largely faceless. Most of the cast is unknown to me.

In one scene Pitt interrogates a captured German officer. The officer won’t spill so Pitt calls for one of his men, the legendary Bear. His m.o.: beating his victims with a baseball bat. He enthusiastically does so to the officer, like a baseball slugger, then whoops, citing Ted Williams and Fenway Park. That performance convinced that last German soldier to give information. Pitt etches a swastika in the guy’s forehead so that when he no longer wears a uniform, people will still know he was a Nazi. The dead get scalped. I don’t doubt that somebody tried scalping during WW2 but the detail here seems outre.

The various threads/chapters got a little confusing for me. The woman who escaped in the first chapter reappears, tho I didn’t immediately recognize her, as a cinema owner, having inherited the place. What seems like meet cute occurs when a German soldier chats her up.  She remains cool to him but later they meet again. It turns out that he’s an Audie Murphy style war hero. He convinces Goebbels to use her theatre for the premiere of the movie made about and with this hero. She uses this opportunity to plot the murder of the German high command that will attend the premiere.

The next chapter introduces a British operative who would work with a German actress to somehow, I’m not sure how, assassinate the German High Command at the premiere. This leads to a scene at a bistro in which the plotters intermingle with German soldiers. An SS officers sniffs out the plotters, I don’t know what they’re doing there anyway. Everyone has a gun trained on somebody. In what seems like a patented Tarantino moment, everyone gets shot. Except for the actress, none of these characters seemed vital to the story. The whole chapter felt superfluous, tho gripping.

This scene sunk me. The burst of violence felt so hopeless. Plus Tarantino makes it so snazzy with the explosive flash of the gunplay.  A young German soldier who just became a father survived. Pitt appears. They both discover that the actress also survived. Pitt tried to negotiate with the German to get the woman. It seems like a moment of release as the German seems to allow the woman to leave. As Pitt negotiates, she shoots the German.

Action culminates in the theatre. Pitt and what’s left of his company and the actress attend. The SS officer from the first chapter is at the theatre and discovers the infiltrators in his methodical yet courteous way. The actress is interviewed by the officer. After she admits of her role in the plot he surprisingly leaps at her and chokes her to death. That came from nowhere. Two of Pitt’s rather happy-go-lucky operatives in the theatre audience are not detained. They have explosives strapped to them and other weapons.

The SS officer takes Pitt and the one remaining operative away to negotiate a way the officer could surrender. The cinema owner has slipped a death-to-Nazis message into the premiere, at the same time starting a conflagration. Meanwhile in what at first appears to be a possibly romantic moment between her and the hero German turns ruthless and they kill each other. With even Hitler attending the premiere, I didn’t expect the complete destruction of everyone in the theatre. Tarantino chose an alternate reality. The last two American operatives madly and blithely shoot people in the chaos of the fire. O nihilism! None of the doomed have much notion or concern of imminent death.

So... the SS officer asks for all sorts of benefits, which are agreed to. He takes the two surviving Americans to Allied territory and surrenders to them. Pitt immediately kills the German driver, and carves a swastika on the forehead of the officer.

Tarantino manages to play with the audience’s sense of wish fulfillment. Yay, Hitler dies, but so do almost everyone else. Pitt’s character bobs along calmly in the chaos. Many other characters are on suicide missions. Tarantino presents the flowering beauty of murder and destruction.

Tho Tarantino manages some subtle moments the bombast of violence provides the tonic note for him. Compared to the Coens he’s ruthless and lacks their quirky surprise. I will say that he takes a different tack towards the Nazi horror than other films. He revels some in that horror, but at the same time sounds Vonnegut’s so it goes. He has made an imperfect but powerful movie.