My guess is that it would involve Harvey Keitel and the scar on Aldo’s throat. They probably go together. My guess would be that Aldo would be hanged by the army for some crime involving excessive brutality to the enemy and after the trap drops, Keitel’s character shoots the rope and gives him his new mission.
Of course I’d expect Tarantino to go for something a little less cliched.
Wouldn’t he have either arrested or killed her though?
Was it common for Jews to just be gunned down like in the first scene? Or was that more common if they were hiding?
Not enough evidence yet. He knows where she works and lives - she’s not going anywhere with the livelihood of a theater to keep her there until he can verify everything.
One of my geek moments was when the music started playing during the opening credits- “Hey, that’s Green Leaves of Summer!” It was the theme to John Wayne’s The Alamo (YouTube) and I’ve read it was one of JFK’s favorite songs. (*The Alamo *theme was a favorite song, Camelot was a favorite musical— no wonder he got shot- his favorite play was probably JULIUS CAESAR.)
It probably depended on where they were found, whether you had the ability to transport them, etc,… There were no shortage of Jews just gunned down but it’s something I associate more with the eastern front. (The first part of the movie took place in 1941- the Wann See Conferencewasn’t until 1942, so the infrastructure of the train deportation and gas ‘showers’ and crematoriums wasn’t in place yet.) No way of knowing of course, but Walz is such an intriguing character it’s not impossible that, like Hannibal Lecter, the thought of using Jewish girls in brothels (which was done) offended him aesthetically, or that like the Basterds (and Mickey & Mallory in the Tarantinoverse) he liked the notion of “leave one alive to tell the tale”.
I thought he knew…after all, he ordered espresso for himself. He was presented as pretty much knowing everything, and he had let her go once before.
I liked the movie overall, and was engrossed in the story. It was suspenseful but didn’t feel as crazy-tense as Pulp Fiction did, maybe because of the time distance.
I was bothered by the fakeness of the blood when Aldo cuts the guy at the end. If you’re going to linger on it with a huge screen full of blood, make it look real more real.
And meant to say, I did kind of revel in the revenge fantasy of seeing Hitler get fucked up. But I can see the point up-thread of the audience enjoying the same thing the Nazis were.
Though I really wanted to see him scalped and taken alive. [Cut to the White House where FDR tells Eleanor “Darling, our company and our grandchildren have gone… bring out Der Gimp”.]
Aldo could have saved a very special mustache pelt on a key chain or something.
I’m doubtful that he knew also. I mean obviously the audience is supposed to wonder if he knows during the scene, and be all dramatically tense about it, but when it turns out his final question is trivial, at that point I think we are supposed to breathe a sigh of relief that he does not know.
It wouldn’t make sense to let her go in order to help his plan to kill Hitler. Because he didn’t have that plan until he captured the Americans. Killing Hitler would have been of no use to him without the connection of the Americans to get him a deal.
It’s doubtful he recognized her as the only time he saw her she was far away with her back ot him. The only way he would have known who she was is if he happened to have done some sort of background check already.
The only other factor is that he also let her go in the beginning of the film and we don’t know why. Maybe she was too far? Maybe he saw it as a game? Maybe it’s in the deleted chapter about her escape and inheritance of the theater? If we knew why he let her go that time we might surmise some reason that he does know her in the later scene and lets her go. But the way it stands now it’s most likely just a reversal of the first scene - he doesn’t know, oh it turns out he does know! now it’s he knows, oh it turns out he doesn’t know!
I disagree. Shoshana told her boyfriend to light the film “after I give the signal,” which left open the possibility that she would be physically prevented from doing so. In fact she was, but the signal she gave was in the film, so the plan went forward anyway. There was also the distinct possibility that Landa knew or would realize who Shoshana was and arrest or kill her.
Personally, I thought the gore factor was pretty high, but I have a strong distaste for realistic violence in film and looked away a few times to avoid the worst of the scalpings and beatings. I definitely wouldn’t take a 13-year-old to see it. YMMV.
I hope it wasn’t too obvious, because it took me a while to pick up on it. Not sure if it was a critique of the audience, of Tarantino, or of humanity in general.
I didn’t find the violence funny, and I don’t think it was meant to be, although the movie had lots of other funny moments. I think if the violence itself was meant to be funny, it would’ve been more over-the-top, as Tarantino in Kill Bill.
And you have to allow for the possibility that those behind either plot had no knowledge of the other’s.
Nothing like several independent plots to do the same thing to make things interesting.
Forgot about those- probably the most graphic part of the movie. Depends largely on the 13 year old therefore; I definitely would have enjoyed it when I was 13 but it may be disturbing to some.
No, the milk was for himself and the espresso was for her. He did tell her to wait for the creme before eating her strudel. I don’t think he had any idea who she was.
BTW Did the Nazis do anything to the black population in France like they did to French Jews?
There wasn’t a deliberate genocide, but many were basically used as slave labor. There were also many biracial citizens of France and Germany, many of them the children of African and African-American soldiers by German and other European women, who were sterilized. Wiki article with some good links.
Again, I found it a bit odd that the head looked less bashed in once the beating had stopped anf the camera had moved in closer than it did during the actual beating.
No, he ordered espresso for himself and milk for her. I think maybe whether he knew or not was kept deliberately vague, so that we’d be wondering, just like Shosana must have been, if the jig was up. He could have ordered anything in the world for her, but he chose to order her a glass of milk. Tha would normally not make the top 5 or even maybe 10 on my list of what to order a woman, especially if I’m drinking something else. Then when he said he had one more question to ask … (long pause) … but could not for the life of him remember what it was, so it must not have been important. That was like a cat playing with a mouse. (Art Spiegel reference? Probably not.) I’m still a bit undecided myself, but I think he probably did know and had something planned for her for later. Maybe he simply did not want to spoil the film premier for Hitler. Or even then was thinking of killing him and thought this would be his one chance?
There’s also the fact that when Landa formally surrendered, he pointed out they had reached the American line.
Yes, I noticed that too. In the wide angle of the shot, the last blow they show appears to completely shatter (explode? pop? pulpify? What’s the right term here?) the head, but when they then cut to a close up, it’s a normal head again with just a bloodied face.
Der strudel szene, vas wery, werrry distürbing! It’s sexuality was corpuscular and perverse. It was the first “food rape” I have ever seen.
Loved it, hated it. There were some things that rescued it from mediocrity.
Notice, she had to wait for the (whipped) cream, more dairy product tension… MELK.
(also, that whipped cream was wayyy overwhipped. It was real whipped whole cream, no sugar… but 15 beats too many.)
Add me to the crowd who thinks Landa didn’t know who Shoshanna was in the restaurant scene. The only time he ever saw her was from the back. He ordered her a glass of milk, which on the surface seems an appropriate complement to the strudel. That’s all the movie gives us. The tension in the scene for me involved whether she was going to reveal something during his routine questioning - not whether he recognized her.