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Inglourious Basterds (2009)

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In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.

Directors:

Quentin Tarantino, Eli Roth (uncredited)
Popularity
255 ( 39)
Top Rated Movies #94 | Won 1 Oscar. Another 129 wins & 165 nominations. See more awards »

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Cast

Cast overview, first billed only:
Brad Pitt ... Lt. Aldo Raine
Mélanie Laurent ... Shosanna
Christoph Waltz ... Col. Hans Landa
Eli Roth ... Sgt. Donny Donowitz
Michael Fassbender ... Lt. Archie Hicox
Diane Kruger ... Bridget von Hammersmark
Daniel Brühl ... Fredrick Zoller
Til Schweiger ... Sgt. Hugo Stiglitz
Gedeon Burkhard ... Cpl. Wilhelm Wicki
Jacky Ido ... Marcel
B.J. Novak ... Pfc. Smithson Utivich
Omar Doom ... Pfc. Omar Ulmer
August Diehl ... Major Hellstrom
Denis Ménochet ... Perrier LaPadite
Sylvester Groth ... Joseph Goebbels
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Storyline

In German-occupied France, young Jewish refugee Shosanna Dreyfus witnesses the slaughter of her family by Colonel Hans Landa. Narrowly escaping with her life, she plots her revenge several years later when German war hero Fredrick Zoller takes a rapid interest in her and arranges an illustrious movie premiere at the theater she now runs. With the promise of every major Nazi officer in attendance, the event catches the attention of the "Basterds", a group of Jewish-American guerrilla soldiers led by the ruthless Lt. Aldo Raine. As the relentless executioners advance and the conspiring young girl's plans are set in motion, their paths will cross for a fateful evening that will shake the very annals of history. Written by The Massie Twins

Plot Summary | Plot Synopsis

Taglines:

Eli Roth Is A Basterd See more »

Genres:

Adventure | Drama | War

Motion Picture Rating (MPAA)

Rated R for strong graphic violence, language and brief sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Germany | USA

Language:

English | German | French | Italian

Release Date:

21 August 2009 (USA) See more »

Also Known As:

Inglorious Bastards See more »

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Box Office

Budget:

$75,000,000 (estimated)

Opening Weekend USA:

$38,054,676, 21 August 2009, Wide Release

Gross USA:

$120,540,719, 17 December 2009

Cumulative Worldwide Gross:

$313,600,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

SDDS | Dolby Digital | DTS

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Quentin Tarantino originally cast Nick Shumaker as the member of the Basterds, later played by Assistant Director Carlos Fidel. Shumaker could not commit to the film, due to his own film being green-lit. See more »

Goofs

At the premiere, Pvt. Zoller wears his Knight's Cross around his neck but when in uniform in all other scenes, he is without it. The Knight's Cross was one of the highest orders the Third Reich bestowed upon soldiers and when in any uniform Zoller would have worn it around the neck. See more »

Quotes

Joseph Goebbels: [in German; subtitled] How many seats in your auditorium?
Francesca Mondino: [translates into French]
Shosanna Dreyfus: [in French; subtitled] Three hundred and fifty.
Francesca Mondino: [translates into German]
Joseph Goebbels: That's almost four hundred less than the Ritz.
Fredrick Zoller: [in German] But Herr Goebbels, that's not such a bad thing. You said yourself you didn't want to indulge every two-faced French bourgeois taking up space currying favor. With less seats it makes the event more exclusive. You're not trying to fill the house, they're fighting for seats. Besides, to ...
[...]
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Crazy Credits

The film uses the 1963-1990 Universal Pictures logo. See more »

Alternate Versions

In the German version the first "Who am I?" game in the tavern scene runs slightly (ca. 1 minute) longer. Specifically, 'Winnetou' gets to ask more questions on who he is. Later he orders Schnaps from Mathilda. See more »

Connections

References Hamburger Hill (1987) See more »

Soundtracks

ZULUS
(1979)
Written by Elmer Bernstein
Performed by Elmer Bernstein conducting the Royal Philharmonic Orchestra
Courtesy of Cerberus Records/Cerberus Productions
See more »

Frequently Asked Questions

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User Reviews

 
Great fun, a real surprise
23 July 2009 | by motta80-2See all my reviews

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.

Then i read the script last year for Inglourious Basterds - and i hated it! Sure it had some typical QT flourishes and the opening scene was undeniably powerful. There were a couple of great characters. But on page it was more juvenile rubbish, largely ruined by the largess of the uninteresting Basterds of the title. It made me seriously contemplate not seeing the film. The trailers did nothing to convince me. I only changed by mind when i had the opportunity to see the film with a Tarantino Q&A following in London. I figured it would be worth enduring to hear him in Q&A as i know from interviews how entertaining he can be in person.

So little was i prepared for the sheer exuberant fun and brilliance of Inglourious Basterds.

Easily Mr Tarantino's best work since Jackie Brown it is a triumph.

Yes the references are there but they do not interfere with the story, they are not the driving force. Yes Eli Roth is stunt casting but he works fine, with little to do but look aggressive, and does nothing to hurt the film as i had feared. While i admired Mr Tarantino for using stuntwoman Zoe Bell as herself in Death Proof in order to amp-up the exhilaration of the major stunt scene her lack of any acting ability in a key role was a problem for the film. The same could be said of Tarantino's own appearances in several films, especially Robert Rodriguez's From Dusk Till Dawn, which Tarantino wrote.

What really makes this work is how BIG it is. The spaghetti western vibe to much of the style, dialogue and performances is wonderfully over the top without descending too far into the cartoon quality of Kill Bill. The violence is so big. The audacity so big. Brad Pitt is so big! In the trailers the Hitler moment and Pitt's performance bothered me but in the context of the film they are hilarious. Pitt is actually brilliant here, exactly what he needs to be. He is Mifune's blustering samurai in Yojimbo, he is Robards Cheyenne from Once Upon a Time in the West, there is a very James Coburn vibe to him, and of course a suitably Lee Marvin edge.

Christoph Waltz (who i did not previously known) and Melanie Laurent (who i first noticed in a brilliant French-language British short film by Sean Ellis) are sensational and i expect to see both used a lot more in the future. Tarantino has clearly not lost his eye for casting, which seemed to desert him in Death Proof. Waltz is equally large in his performance. Chilling, yet theatrical. He is Fonda from OUATITW, Van Cleef from Good, The Bad & the Ugly. And Laurent is suitably Cardinale innocence but tough, a fighter. They both dazzle here.

That every member of the cast gets the fun to be had from what they are doing while not indulging themselves in just having fun and trying to get laughs helps tremendously. The laughs - and there are loads - come organically. Only Mike Myers comes close to tipping the wink and pushing it too far but his scene is reigned in just enough - with the help of a fantastic Michael Fassbender who seems pulled directly from the mold of Attenborough's Great Escape leader.

All the actors shine and Tarantino throws in wonderful flourishes, but ones that work with the story. The introduction of Schweiger's Hugo Stiglitz is a riot. After a sensational slow-burn opening and a glorious intro to those inglourious Basterds the pace never lets up and over two and half hours flies by.

It also looks beautiful, marking this as a return to real film-making rather than just self-indulgent silliness. The musical choices, as always, are inspired from Morricone on.

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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