Inglorious Basterds

In the film Inglorious Basterds, Quentin Tarantino enforces the idea of moral dilemma. In the opening scene it is quiet, with cool colors showing that everything was calm and peaceful. The Lapadite family just like a casual day. As soon as Colonel Hans Landa start riding up on a carriage with other soldiers the music tempo starts increasing. the the volume making the audience’s curiosity rise.

After the colonel approaches Lapadite the music stops, they move inside and when they do the lighting is dimmer defining the gravity of the situation. Colonel asks Lapadite’s daughters to leave and they start having normal conversation but as soon as the colonel starts questioning Lapadite about the Jewish family , you can feel and see the tension rising and you start to feel bonded to the characters due to the close-up framing.

As the colonel continues to question him about the family Lapadite reaches for his pipe and starts to smoke which tells the audience that this is stressful for him. The camera pans down to underneath the floorboards where Shosanna and her other family member are hiding, tightly framed with their hands over their mouths, showing the anxiety and tension of what would happen if they were found. As the Colonel starts to explain to Lapadite that if he knows where they are hiding he needs to tell him otherwise him and his family will be in trouble the camera begins to do a close-up on both characters and the lighting on both characters is coming from the side showing that both of them are in sticky situations.

Lapadite doesn’t want to give up the jewish family and get them killed but he also doesn’t want his family to be arrested and the colonel already knows that the family is there but has to go through the right proceedings before he is allowed to search Lapadites home. Lapadite has no other choice but to tell the colonel he is hiding them because either way they would be found. As the colonel starts to get up and his call his soldiers over the music starts back up again being loud, and fast setting the mood for what seems to be death. The closing scene shows Shosanna running off in the blue, green scenery with loose framing showing that she is free but as soon as the camera pans back to a close up of Colonel Hans you know that it won’t be forever.

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