Tarantino doesn’t care about the actual end of World War II. He cares about the cinematic end. So he takes a movie theater, 400 rolls of flammable nitrate film, and a room full of Nazi high command, and he burns it all down. The genius of Basterds is that it weaponizes our own history against us. We know the real Nazis weren’t killed in a Parisian cinema fire. But for two and a half hours, Tarantino makes you want it to be true. He turns vengeance into a genre.
There is a moment in Quentin Tarantino’s Inglourious Basterds that stops the film cold. It happens about twenty minutes in, in a smoky French farmhouse. A Nazi colonel named Hans Landa—known as "The Jew Hunter"—stops talking about rats and Jews and shifts to the subject of metaphor. inglourious.basterds.2009
It is, without question, Tarantino’s most mature work. It is also his most fun. Tarantino doesn’t care about the actual end of