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The Fuhrer's Face: Inglourious Basterds and Quentin Tarantino’s Confrontation with Nazis, Hitler and Fascist Aesthetics in Hollywood Cinema Conrad Leibel This paper is an in depth visual and theoretical analysis of Quentin Tarantino’s 2009 film Inglourious Basterds. The central questions with which the essay contends are how Quentin Tarantino represents Nazis within his film, as represented by Colonel Hans Landa and Adolf Hitler and where the film fits within the American tradition of representing Nazis on-screen. Inglourious Basterds creates an argument that the Nazi regime itself was a type of performance; the regime’s politics are explicitly theatrical, and the only weapon capable of taking it down is an equally powerful theatrical machine: Hollywood. _________________________________________________________________ Nazism and the Third Reich have occupied the cinematic imaginations of both Europe and North America since roughly two years before the Second World War had erupted. In the initial war and post-war years, the figure of the Nazi had functioned as an enemy within Hollywood narratives, as well as the post-war European anti-fascist films. As the historical referent of the Third Reich has become increasingly distanced from future generations, the symbol of the Nazi has devolved into a floating signifier, that is, a signifier that has been disconnected from the original historical referent and has come to signify a variety of somewhat related and unrelated symbols. The most popular incarnation of the Nazi as a floating signifier is American culture’s appropriation of the image of Adolf Hitler as a symbol of universal evil, a figure which allegorically represents evil incarnate in human form. Film-makers have contended with this Americanized image of Hitler since the end of the World War and, with the global media's coverage of Hitler’s final solution, attempts to portray Hitler as otherwise have been looked on as callous and insensitive to the victims of Hitler, the Nazi Party and German citizens’ crimes. European cinema, however, has favoured a representation of Hitler as a “seducer” or “demon” who had held Europe under a spell while most Germans take the role of a type of hypnotized victim, who is absolved of the guilt of being complicit with the rise and maintenance of the Third Reich. The twenty-first century has been characterized by an increasing normalization of Nazism and Hitler in both German and American popular culture. Whereas a long-standing taboo on representing Hitler in film (with the exception of Syberberg’s Hitler and the “Hitler Wave” films of the 1970’s) once stood in Germany, the first decade of the twenty- first century has been characterized through an increasing normalization of representing Hitler in cinema. After several decades of Hollywood Nazi films, Quentin Tarantino’s 2009 film Inglourious Basterds makes the exception. Inglouroious Basterds is a film that directly engages in contesting traditional modes of representing Hitler and Nazism in both Hollywood and European cinema and represents a pastiche of Hollywood and Nazi aesthetics in its purpose to lay bare the fascist forms used by the cinema of the Third Reich, which Hollywood has appropriated. Inglourious Basterds is the inheritor in a long tradition of Hollywood anti-Nazi films, which have developed an “enemy friend distinction” between Nazis and Americans.1 This distinction 1 Sabine Hake, Screen Nazis: Cinema, History, and Democracy (Madison: University of Wisconsin Press, 2012), 21. maintains that the Nazi’s primary role in the film’s narrative is to “personify the monopoly of violence and the power over life and death associated with the totalitarian state.”2 The Nazi figure also performs the “suspension of the rule of law” and replaces it with “total surveillance.”3 These Nazis are stereotypical villains who enact the “negative position”4 in a series of binaries which establish American Democracy as the benevolent counterpart to Nazism (ie. Liberalism vs. totalitarianism, individualism vs. communalism, humanism vs. collectivism, freedom of speech vs. censorship, religion vs. ideology, love vs. sexuality, monogamy vs. promiscuity and life vs. death).5 These films worked to transform American audiences into “citizens”6 through the audience’s recognition of the Nazi stereotypes as enemies; the Nazis in these films often took the forms of “the party member”, “the officer”, “the sympathizer”, and “the collaborator.”7 Each of these stereotypes command the “intense aversions”8 of the audience as the Nazi is transformed into a “preferred object of loathing or ridicule by the spectator.”9 Examples of these characters include Major Heinrich Strasser (played by Conrad Veidt) in Casablanca, Peter Lorre and Conrad Veidt’s characters in All Through the Night, and the Great Dictator, in Charlie Chaplin’s film of the same name. Whereas the first two are threatening enemies with whom the moral American Humphrey Bogart must battle, Charlie Chaplin’s Great Dictator begins as an object of ridicule for the audience and, in the final scene, Chaplin transforms his satire of Hitler and Nazism into a (kitschy) plea for world-wide democracy as he manipulates the audience’s identification for him as “Charlie Chaplin” as a means of prodding the audience to take a political stand against Nazism.10 Tarantino’s film responds to the anti-Nazi tradition of Hollywood cinema through blurring the distinctions between the American soldiers and the Nazis as he provides his audience with a grotesque burlesque of violence. Quentin Tarantino’s 2009 film Inglourious Basterds is an absurd response to cinematic conventions regarding representations of Nazism and the Holocaust in that it is linked with the literary movement of the theatre of the absurd in its rejection of the “certitudes and unshakeable basic assumptions of former ages.”11 Tarantino rejects the grand historical narrative of WWII through creating a fantastical alternative history which takes place outside of traditional narratives of the Second World War. Tarantino’s film has been popularly quipped as a Jewish revenge fantasy. The film is a post-modern pastiche of cinematic quotations to other films, as Tarantino appropriates music and visuals from other films (such as Ennio Morricone’s score for the Man with No Name trilogy). The Jewish revenge fantasy occurs within two separate narrative frames, the first is Aldo Raine’s assembly of a group of Jewish-American soldiers, called the “basterds”, to whom Aldo declares that each of the soldier’s owes him “100 Nazi scalps”12; the purpose of the basterd’s mission is to instill fear into Nazis through intense 2 Ibid. 3 Ibid. 4 Ibid., 35. 5 Ibid. 6 Ibid. 7 Hake, 41. 8 Ibid. 9 Ibid. 10 The Great Dictator, directed by Charlie Chaplin (United Artists, 1941). 11 Martin Esslin, The Theatre of the Absurd (London: Methuen, 2001), 23. 12 Inglourious Basterds, directed by Quentin Tarantino (The Weinstein Company, 2009) 1 displays of violence (by scalping and mutilating Nazi officials). The basterds narrative of Tarantino’s film upsets the balance of the friend-enemy distinctions on which Hollywood anti- Nazi narratives rely, through careful camerawork. In the sequence in which Aldo and the basterds are introduced, Aldo briefs the basterds on their mission and goes on a tirade against the German: “And the German will be sickened by us. And the German will talk about us. And the German will fear us.”13 Aldo incessantly continues this monologue in which he claims that “Nazi ain’t got humanity.”14 The American characters cannot seem to make the distinction between Nazis and Germans throughout the film and Aldo’s cartoonish monologue serves as a useful reference point. The monologue troubles the separation between Nazis and Americans in that Aldo's rhetoric of referring to “the German” is comparable to how Nazi propaganda would represent Jews under the singular type of “the Jew” through films such as Der Ewige Jude, which established “The Jew” as a singular character type to which all Jews conform through their “parasitic nature” and “degenerate art.”15 Tarantino further disrupts the Hollywood friend-enemy distinction between Americans and Nazis in his displacement of viewer identification patterns. In the first scene where Tarantino presents the basterds in-action, Aldo is about to call out “the Bearrrrr Jew” (also known as Sergeant Donny Donnowitz) to come out of his lair to bash in the head of a Nazi officer who is unwilling to divulge information which will place his fellow German soldiers at risk. Tarantino places the camera at eye level with the Nazi officer as he looks up at the Bear Jew from a low angle; the low angle makes Donny look monstrous and sadistic and compels the viewer to identify with the Nazi officer who is about to have his head beaten in. As soon as Donny begins to bash the officer’s head, the camera pulls away into a long shot; the distance provokes the viewer into feeling alienated from the action which is taking place and the clubbing comes across as monstrous, even to an audience attuned to the image of the Nazi villain. As he beats the man’s head in, Donny goes into frenzy and begins yelling a pseudo sports cast: Teddy fuckin' Williams knocks it out of the park! Fenway Park on its feet for Teddy fuckin' Ballgame! He went yardo on that one, out to fuckin' Lansdowne Street!16 Donny’s “sportscast” comes across to the audience as belligerent and brutish when counterpoised with the brutal violence that is taking place on-screen. The American basterds are here depicted as sadistic, infantile men who are unable to distinguish between games and horrific violence. Though Tarantino is usually regarded as a director who glorifies acts of violence, the representation of violence perpetrated against the German officer in this scene is unsettling and upsets traditional images associated with the American troops, as depicted in American propaganda films during the Second World War.

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