DVD technology has helped to bring retrospectives of 1970s Italian cinema and saved many films that looked doomed to oblivion. Action director Enzo Castellari is one name who has benefited from this trend, seeing projects like 'Heroin Busters' and 'Street Law' drawing new audiences. Castellari's second war film, 'The Inglorious Bastards,' is also enjoying a revival and has spurred an upcoming project by Quentin Tarantino.
'Bastards' can be viewed as a summing-up of the Italian war genre, bringing together elements of plot, character, and general nuttiness seen over two previous decades. Renamed by its distributors as 'Quel maledetto treno blindato' ('That Damn Train'), 'Bastards' hooks onto several well-known premises. The idea of U.S. Army convicts on a tactical mission was originally used in 'The Dirty Dozen' and the progress of a German locomotive was seen in John Frankenheimer's 'The Train.' These elements were later fused into 'Battle of the Commandos' (directed by Umberto Lenzi) and seen in Italy many times afterward. Everything from twenty years of Italian war film-making surfaces in 'The Inglorious Bastards:' a wildly uneven plot, a myriad of characters, plenty of gunfire and explosions, and an over-the-top finale.
The major European cast is led by Bo Svenson, who plays U.S. Air Force Lieutenant Yeager. Yeager is forced to take charge of army prisoners who escape when their ground transport is attacked by a German fighter plane. The 'bastards' plan to reach exile in Switzerland but accidentally kill off a group of American soldiers (disguised as Nazis) whose mission is to stop a train carrying the prototype of Germany's new V2 missile. 'The Inglorious Bastards' devotes an hour to their escape and forty minutes to their carrying out of the operation.
Despite third billing, former NFL defensive back Fred Williamson stays visible as Private Fred Canfield. Canfield is the most developed character in this film, having to deal with ongoing racism from both 'friend' and enemy. Peter Hooten creates much of the racial strife as Tony, a blue-eyed American who is unafraid to drop slurs. Michael Pergolani gives a spirited effort as Nick, the long-haired, mustache-wearing playboy who excels at forging documents. Jackie Basehart nicely fills Berle, a cowardly farmer who delivers at pivotal moments. Academy Award nominee Ian Bannen maximizes his role as Colonel Buckner, the mission's guide; Bannen is particularly effective with Svenson as Nazi impostors.
Enzo Castellari's main talent is action and the action scenes in 'Bastards' are well-made. After seeing their guns confiscated by the Italian police during a Red Brigade scare, the film's crew pressed onward with homemade arms (including from wood) that fired electrical sparks in one burst. Castellari pulled off later scenes by using rapid crosscutting to disguise the 'fake' weaponry. These scenes are superbly paced (with editing by Gianfranco Amicucci) and use Castellari's favorite technique of slow motion to heighten the drama. Matte layouts by Emilio Ruiz del Río and explosives work by Gino De Rossi place 'Bastards' on a much larger scale than its budget allotted for. Composer Francesco De Masi ('Eagles Over London,' 'The New York Ripper') presents an orchestral soundtrack, arguably the best written for a spaghetti war flick.
While highly watchable, 'Bastards' is hurt a great deal by sloppy writing and mediocre venues. The script was written by no less than five people, with Franco Marotta and Laura Toscano making last-minute changes to enlarge its action. Main characters (except for Canfield) are little more than bodies, which is usual for this genre, and the intended humor doesn't always work to its potential. Much of the humor is slapstick and has a built-in risk of annoying viewers; this occurs at several points in the film. The writing often lacks focus and has unneeded subplot; actress Debra Berger is highly welcome as a French nurse, but her romantic interest with Tony has no definite place in the storyline.
'Bastards' was also not filmed in Spain as other Italian war movies of the period. Instead, it was shot in locations around Rome, which clearly didn't offer the wide-open feeling that a movie of this type requires. While the foliage and climate of Italy appear to match those of France, several of the action scenes are happening on cramped backlots; the areas are confined and seem to be hiding elements that would give away its place in a modern-day Italian suburb. del Río's matte work helps to bring an epic feel to the movie, but it often looks as if Castellari was hindered by the tight workspaces.
Although not greatly successful as a war film, lovers of action should be happy with 'The Inglorious Bastards.' The film is a must-see for Italian war fans and deserves at least one sit-down from those interested in Second World War epics. Tarantino's new version of 'Bastards' helped with an impressive DVD release from Severin Films, which is available in a three-disc set. The film is solidly presented in widescreen (1.85:1) with Dolby enhancement of the original mono track. Subtitles are given for all non-English dialogue.
Disc 1 offers a commentary track with Castellari and writer David Gregory, an excerpt from the theatrical trailer, and a 38-minute conversation between Castellari and Tarantino. On disc 2 are 'Train Kept A-Rollin',' a 75-minute documentary on the making of 'Bastards,' and 'Back To The War Zone,' a 13-minute featurette with Castellari revisiting locations. The third disc is a CD with 18 minutes of the film's original soundtrack, including its main titles. Several minutes were erased by De Masi when he needed a tape to record his son's school play (how about a featurette called 'The Inglorious Brats?'). Another spaghetti war tale for the ages.
** out of 4
Roving Reviewer - www.geocities.com/paul_johnr
'Bastards' can be viewed as a summing-up of the Italian war genre, bringing together elements of plot, character, and general nuttiness seen over two previous decades. Renamed by its distributors as 'Quel maledetto treno blindato' ('That Damn Train'), 'Bastards' hooks onto several well-known premises. The idea of U.S. Army convicts on a tactical mission was originally used in 'The Dirty Dozen' and the progress of a German locomotive was seen in John Frankenheimer's 'The Train.' These elements were later fused into 'Battle of the Commandos' (directed by Umberto Lenzi) and seen in Italy many times afterward. Everything from twenty years of Italian war film-making surfaces in 'The Inglorious Bastards:' a wildly uneven plot, a myriad of characters, plenty of gunfire and explosions, and an over-the-top finale.
The major European cast is led by Bo Svenson, who plays U.S. Air Force Lieutenant Yeager. Yeager is forced to take charge of army prisoners who escape when their ground transport is attacked by a German fighter plane. The 'bastards' plan to reach exile in Switzerland but accidentally kill off a group of American soldiers (disguised as Nazis) whose mission is to stop a train carrying the prototype of Germany's new V2 missile. 'The Inglorious Bastards' devotes an hour to their escape and forty minutes to their carrying out of the operation.
Despite third billing, former NFL defensive back Fred Williamson stays visible as Private Fred Canfield. Canfield is the most developed character in this film, having to deal with ongoing racism from both 'friend' and enemy. Peter Hooten creates much of the racial strife as Tony, a blue-eyed American who is unafraid to drop slurs. Michael Pergolani gives a spirited effort as Nick, the long-haired, mustache-wearing playboy who excels at forging documents. Jackie Basehart nicely fills Berle, a cowardly farmer who delivers at pivotal moments. Academy Award nominee Ian Bannen maximizes his role as Colonel Buckner, the mission's guide; Bannen is particularly effective with Svenson as Nazi impostors.
Enzo Castellari's main talent is action and the action scenes in 'Bastards' are well-made. After seeing their guns confiscated by the Italian police during a Red Brigade scare, the film's crew pressed onward with homemade arms (including from wood) that fired electrical sparks in one burst. Castellari pulled off later scenes by using rapid crosscutting to disguise the 'fake' weaponry. These scenes are superbly paced (with editing by Gianfranco Amicucci) and use Castellari's favorite technique of slow motion to heighten the drama. Matte layouts by Emilio Ruiz del Río and explosives work by Gino De Rossi place 'Bastards' on a much larger scale than its budget allotted for. Composer Francesco De Masi ('Eagles Over London,' 'The New York Ripper') presents an orchestral soundtrack, arguably the best written for a spaghetti war flick.
While highly watchable, 'Bastards' is hurt a great deal by sloppy writing and mediocre venues. The script was written by no less than five people, with Franco Marotta and Laura Toscano making last-minute changes to enlarge its action. Main characters (except for Canfield) are little more than bodies, which is usual for this genre, and the intended humor doesn't always work to its potential. Much of the humor is slapstick and has a built-in risk of annoying viewers; this occurs at several points in the film. The writing often lacks focus and has unneeded subplot; actress Debra Berger is highly welcome as a French nurse, but her romantic interest with Tony has no definite place in the storyline.
'Bastards' was also not filmed in Spain as other Italian war movies of the period. Instead, it was shot in locations around Rome, which clearly didn't offer the wide-open feeling that a movie of this type requires. While the foliage and climate of Italy appear to match those of France, several of the action scenes are happening on cramped backlots; the areas are confined and seem to be hiding elements that would give away its place in a modern-day Italian suburb. del Río's matte work helps to bring an epic feel to the movie, but it often looks as if Castellari was hindered by the tight workspaces.
Although not greatly successful as a war film, lovers of action should be happy with 'The Inglorious Bastards.' The film is a must-see for Italian war fans and deserves at least one sit-down from those interested in Second World War epics. Tarantino's new version of 'Bastards' helped with an impressive DVD release from Severin Films, which is available in a three-disc set. The film is solidly presented in widescreen (1.85:1) with Dolby enhancement of the original mono track. Subtitles are given for all non-English dialogue.
Disc 1 offers a commentary track with Castellari and writer David Gregory, an excerpt from the theatrical trailer, and a 38-minute conversation between Castellari and Tarantino. On disc 2 are 'Train Kept A-Rollin',' a 75-minute documentary on the making of 'Bastards,' and 'Back To The War Zone,' a 13-minute featurette with Castellari revisiting locations. The third disc is a CD with 18 minutes of the film's original soundtrack, including its main titles. Several minutes were erased by De Masi when he needed a tape to record his son's school play (how about a featurette called 'The Inglorious Brats?'). Another spaghetti war tale for the ages.
** out of 4
Roving Reviewer - www.geocities.com/paul_johnr