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This Gerry of yours- not exactly the loquacious type is he?


Goo Punch

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31 minutes ago, mchookem said:

this is his only post-PF movie that i thought lived up to the bar set by PF. 

opening farmhouse and basement fight scenes were absolutely masterful

I'm not a big QT fan, but the farmhouse scene is probably my favorite singular scene in any movie. It's perfect. The moment, as a viewer, that you realize that Landa already knows the truth, but he's reveling in drawing it out and verbally bringing the stern farmer to tears...so good.

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6 hours ago, Goo Punch said:

they've all heard of him, but i don't think that means they necessarily know what he looks like. they are also inebriated as fuuuuck.

Haven’t seen it in a long time but I thought there was a scene when his backstory is covered where they show a newspaper headline with his photo.  The SS Major missed nothing in that whole bar, but he forgot he was sitting next to Hugo?

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2 hours ago, aggie08 said:

I'm not a big QT fan, but the farmhouse scene is probably my favorite singular scene in any movie. It's perfect. The moment, as a viewer, that you realize that Landa already knows the truth, but he's reveling in drawing it out and verbally bringing the stern farmer to tears...so good.

it's my go-to scene when talking about how much i hate movies/tv/film beating you over the head with what's happening. that scene is the antithesis of that. that scene is *perfect*, and it's done so deftly it's just marvelous. Hans Landa is small in stature, he is not being threatening in any way, and in fact his behavior is pleasant and downright cordial for the majority of the scene. as the tension builds its palpable for the viewer. we can feel Hans' presence getting bigger and bigger, while the much larger, much stronger Monsieur Lapeditte is shrinking before your eyes. by the time Landa switches gears it's all over. the change in tone; that glare; "you are sheltering enemies of the state are you not?" chills.  

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this is his only post-PF movie that i thought lived up to the bar set by PF. 
opening farmhouse and basement fight scenes were absolutely masterful


I was trying to figure out how to say this. It’s absolutely in the same tier as RD and PF, and that might be the only other QT movie in that tier. I can’t bring myself to say I like it better than RD or PF, but it’s damn close. I fucking love that movie. It’s perfect, if not as iconic as the other two. And super rewatchable.

The whole damn thing is quotable.
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The scene at the cafe is a masterclass of holding the audience in deadly tension: The absolutely abrupt transition when Goebbels says "Ah, Landa!" Music change.  We remember Landa from the farmhouse, how he dealt with Msr. LaPadite. The whole strudel order.  Then the Nazi bastard offers her a smoke.  [Pause while intently staring at her] "I did have something else I wanted to ask you [pause while intensely staring at her] but for the life of me I cannot remember what it was."  A masterclass of holding the audience in deadly tension.

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Serious question---was it really supposed to be unknown to the audience that Col. Landa knew about the Jews under the floor when he arrived?  Not immediate, but very quickly, it becomes obvious that Landa knows...long before he actually reveals it with the big pipe.  And it's apparent that the Frenchman knows sooner than he lets on as well.  It seemed to me that the charade the Frenchman puts on is to buy time perhaps for them to attempt escape, or at the very least for them to remain calm so as to die quickly and not suffer or live in torment for 10 extra minutes.  Landa does drag it out so to crack the Frenchman so he'll alert others that there's no point in resisting the Nazis or hiding the Jews.  But Landa knows he knows before the direct dialogue begins.  

What I still don't get is the NCO in the ravine looks up at Hugo and says, "Everybody in the German army has heard of Hugo Stiglitz."  Then shortly thereafter, the most situationally aware SS officer in the film-Major HellStrom is sitting right next to him and doesn't recognize him.  Surely, top ranking Gestapo/SS officers would have at least gleaned his face once he was broken out of prison and last seen heading towards France.  I think it's QT's little dig that even the smartest and most efficient among them ignored obvious warning signs that they were vulnerable.  reminds me of what he did with the Italian Mobsters in "True Romance."  These guys are smart enough to track down Clarence's Dad,  discretely question the neighbors, tell him about the pantomimes, and yet they're too fucking stupid to look at the note on the fridge before committing murder in broad daylight.  

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2 minutes ago, Lobo said:

Serious question---was it really supposed to be unknown to the audience that Col. Landa knew about the Jews under the floor when he arrived?  Not immediate, but very quickly, it becomes obvious that Landa knows...long before he actually reveals it with the big pipe.  And it's apparent that the Frenchman knows sooner than he lets on as well.  It seemed to me that the charade the Frenchman puts on is to buy time perhaps for them to attempt escape, or at the very least for them to remain calm so as to die quickly and not suffer or live in torment for 10 extra minutes.  Landa does drag it out so to crack the Frenchman so he'll alert others that there's no point in resisting the Nazis or hiding the Jews.  But Landa knows he knows before the direct dialogue begins.  

 

That's Landa's trophy for his work:  holding people in a state of uncertainty that he's figured them out, while they can't escape the situation because of rules of decorum.  He does it to the the Frenchman.  He does it to Shoshanah with the Strudel and saying there's something else I wanted to ask you.  He does it to the whole crew laughing at the mountain climbing and asking what mountain in Paris she claimed and then switching subjects saying he's just teasing and then going through Italian accents.  Every time he knows the truth, but ratchets up the tension by making it vague he knows.  That's why he reacts differently with von Hammersmark at the end and strangles her in rage.  She says "oops" and won't continue the charade dialogue. 

 

8 minutes ago, Lobo said:

What I still don't get is the NCO in the ravine looks up at Hugo and says, "Everybody in the German army has heard of Hugo Stiglitz."  Then shortly thereafter, the most situationally aware SS officer in the film-Major HellStrom is sitting right next to him and doesn't recognize him.  Surely, top ranking Gestapo/SS officers would have at least gleaned his face once he was broken out of prison and last seen heading towards France.  I think it's QT's little dig that even the smartest and most efficient among them ignored obvious warning signs that they were vulnerable.  reminds me of what he did with the Italian Mobsters in "True Romance."  These guys are smart enough to track down Clarence's Dad,  discretely question the neighbors, tell him about the pantomimes, and yet they're too fucking stupid to look at the note on the fridge before committing murder in broad daylight.  

I read on reddit someone's theory that Hellstrom DID know the whole time.  Bridget says the 3 finger thing gave them away, but he knew earlier.  (the reddit post gives some decent evidence of it, including what was written on the card being an obscure German actress in movies that had been embargoed during the war which would expose Hicock's non-German nature, the fact that he immediately tries to get them in a drinking came to have an advantage in the fight to come by ordering scotch for everyone else but immediately saying he doesn't drink it, his insistence on sitting next to Hicock, Hugo's presence)  The reaction to the 3 finger thing wasn't that he now knows, but because it puts an end to the "monkeyshines" because now he cannot feign not knowing -- even the bartender would notice he was not behaving German-ly.  So it forces the issue. 

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13 minutes ago, Lobo said:

Serious question---was it really supposed to be unknown to the audience that Col. Landa knew about the Jews under the floor when he arrived?  Not immediate, but very quickly, it becomes obvious that Landa knows...long before he actually reveals it with the big pipe.  And it's apparent that the Frenchman knows sooner than he lets on as well.  It seemed to me that the charade the Frenchman puts on is to buy time perhaps for them to attempt escape, or at the very least for them to remain calm so as to die quickly and not suffer or live in torment for 10 extra minutes.  Landa does drag it out so to crack the Frenchman so he'll alert others that there's no point in resisting the Nazis or hiding the Jews.  But Landa knows he knows before the direct dialogue begins.

I disagree. The family had been questioned (perhaps multiple times) in the past by German investigators. They knew the routine, and were relatively calm about it. I'm sure they thought that they'd escape this round of questions just as they had the others.

The audience realizes that Landa knows before he says it, and the farmer probably realizes it right around the time he's talking about being able to think like a Jew, and all the places "rats" could hide when they abandon dignity. Which leads to him not bothering to deny it and emotionally breaking down.

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10 hours ago, Dutch said:

Tthe scene at the cafe is a masterclass of holding the audience in deadly tension: The absolutely abrupt transition when Goebbels says "Ah, Landa!" Music change.  We remember Landa from the farmhouse, how he dealt with Msr. LaPadite. The whole strudel order.  Then the Nazi bastard offers her a smoke.  [Pause while intently staring at her] "I did something else I wanted to ask you [pause while intensely staring at her] but for the life of me I cannot remember what it was."  A masterclass of holding the audience in deadly tension.

that's a bingo!

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The scene at the cafe is a masterclass of holding the audience in deadly tension: The absolutely abrupt transition when Goebbels says "Ah, Landa!" Music change.  We remember Landa from the farmhouse, how he dealt with Msr. LaPadite. The whole strudel order.  Then the Nazi bastard offers her a smoke.  [Pause while intently staring at her] "I did have something else I wanted to ask you [pause while intensely staring at her] but for the life of me I cannot remember what it was."  A masterclass of holding the audience in deadly tension.


Wait for the creme...
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