兰达上校在影片中通晓多国语言，轻易识破了“混蛋们”的计谋，却意外地放了皮特一条生路，任凭希特勒和所有纳粹高官被刺杀，这成了影片最出人意料的“包袱”。

你永远不会猜到结果
 
塔伦蒂诺的影片从不会让观众们失望，当然他也不会忘记和观众们开玩笑，若是我们依照通常的观影经验去预测结果，这个狡猾的家伙肯定在镜头后面偷笑。你永远不会猜到剧情会如何发展，来个180度大转弯，只为让人惊到爆笑。今年这部《无耻混蛋》可算是昆汀构思八年，邀集美、法、德、加拿大诸多明星出演的大制作，难得“认真”地打入全球院线。比起昆汀过去那些完全靠虚构来“玩弄”观众的故事，这一次的剧情设置变得貌似“正经”，可昆汀没那么老实，他花了八年时间写这个剧本，当然不会按照前人的思路去拍摄“抗战英雄”，区别于欧洲导演的厚重严谨，也与好莱坞主流作品的商业套路保持距离，这才是他的“独立本色”。

鲜明的B级片味道
 
和昆汀的其他作品一样，《无耻混蛋》也是一部群戏，每个人都有鲜明的位置，所有的明争暗斗最后终结到影院大火一场戏。仅仅就剧情来看，这是部偏向于主流的谍战片，当年的欧洲战场上，的确出现过同样惊心动魄的刺杀和反扑。然而到了昆汀的手中，一切就变得不那么严肃。可以说，《无耻混蛋》算是利用了战争背景，而让暴力变得合法，让复仇成为终极目标的标准“昆汀式作品”。在影片中有过多的血腥场面，太过真实的残杀肢体镜头，让影片越过了“反战”的严肃，带有鲜明的娱乐B级片味道。这一点，也让一些大牌影评人质疑，是否可以这样“割皮刺字”来表现二战题材，并不是人人都能接受。

向前辈致敬
 
过于戏耍的讽刺，肆意卖弄悬念，有可能会冲淡了历史题材的厚重感，可这是昆汀的强项，他才不在乎什么反战的人性呢。影片在手法上也不像传统的战争片，有着一股子黄沙漫天的“西部片”味道，就连字体都似曾相识，颇有些黑色幽默。不过，如果观众放下历史考据的心态，纯粹从电影本身来看待《无耻混蛋》，会发现昆汀还是下了一番功夫。影片结构的分段明朗，人物关系的复杂交错，对电影前辈的模仿致敬，以及昆汀骨子里散不去的Cult色彩和话唠癖好，都在这部一百五十分钟的影片中一一展现。《无耻混蛋》里看得到很重的“西部情结”，啤酒馆大火并就是著名的手乱战，搞不清楚谁发第一，最后大家同归于尽。流畅的长镜头和熟练的“圆心环拍”，把最后的高潮戏处理得既悲壮又滑稽，只有昆丁才干得出来。

影片分析:篡改历史才过瘾
 
《无耻混蛋》通过两条主线的交织，来讲述一个反纳粹的刺杀传奇。影片中，一方面皮特扮演的“混蛋队长”瑞恩带领一队盟军犹太裔敢死队，在法国的土地上偷袭德军，用残忍的手法刺杀纳粹军官；另一方面，被纳粹迫害全家的犹太女孩德莱福斯孤身逃往巴黎，经营一家电影院的同时，终于找到机会向纳粹复仇。混蛋小分队一路杀到巴黎，在酒馆女老板的帮助下，潜入纳粹高官云集的酒会中。影片的高潮，是两组刺杀者终于在电影院里会合，目标是戈培尔和希特勒等一群纳粹高层，一通血腥的乱战后，历史居然就这样被改写。
 
耳听昆丁最拿手的配乐，很多熟悉的旋律在影片中响起，配着刻意调侃的闪回，让人捧腹。影片分为五个段落，大体上还是按照时间顺序，没像《低俗小说》那样大玩结构。《落水狗》里的音乐照搬进来，让沉重的战争变得轻佻嘲讽，仿佛在时刻提醒观众，这不是真的历史。实话说，这个刺杀希特勒、戈培尔等纳粹大员的计划并不完美，漏洞和偶然性使得观众们第一时间就怀疑其可行性。谁都知道电影是虚构的，历史上的希特勒不会死在电影院里。可到最后，笔锋猛然一转，盟军小分队虽有伤亡，却完成了奇迹，皮特成了结束二战的英雄。
 
“昆汀简直是和上帝做游戏”，《帝国》给了《无耻混蛋》四颗星的高分，对影片的结尾大加赞赏。这可能将是他票房最高的一部作品，很多影评人也表示肯定，赞赏其改变好莱坞的叙事模式了。也有人质疑，是否可以过于卖弄技巧而削弱了战争影片的严肃性。对于并不遥远的二战，不是人人都敢以玩电影的心态颠覆的，暑假档缺的就是这种胆量和原创力。

演员阵容:都来抢明星的风头

《无耻混蛋》所收获的不少好评归功于一票“八国联军”。影片中最受关注的大明星布拉德·皮特，其实戏份并不算多，主要靠对白来调动观众的情绪，颇有些喜剧效果。剧情主导权反而集中在两个女人-德国美人黛安·克鲁格和法国巾帼梅丽·洛朗身上。此外真正出彩的人物，还是大反派纳粹军官兰达，其扮演者克里斯托弗·瓦尔兹也凭借绝妙入微的演技，一举拿下了今年的戛纳影帝桂冠，瓦尔兹通过丰富的面部表情，神经质的小动作，演活了这个纳粹，风头压过皮特等大牌明星。
 

此外酒馆老板娘的角色，据传曾留给张曼玉，但从影片中来看，还是德国人克鲁格更加合适，她的气质偏向于古典，给影片带来些回归传统的倾向，稍微平衡了些昆汀的恶搞癖好。德莱福斯的扮演者梅丽·洛朗是法国影坛最据天赋的新星，近年来几部正剧喜剧都大获好评，这次与国际明星们演对手戏也毫不逊色，展现出犹太女的坚毅和勇敢。影片中还有不少配角，戏份虽不多，同样出彩，风格鲜明。例如“混蛋队”的干将，也是昆汀的好友，《人皮客栈》的导演艾利·罗斯亲自上阵，与戈培尔、希特勒同归于尽。就连“大贱谍”迈克尔·迈尔斯都友情出演了一位英国将军，给影片再添些喜剧感。一部《无耻混蛋》，就是昆汀带队的“战争游戏”，很暴力很血腥也很精彩，可这不是历史，你若是信以为真了，昆汀就笑了。

文/LUC

无耻混蛋 英文影评 Inglourious Basterds Movie Review
To hell with the history books, this is Tarantino's own war

Quentin Tarantino’s “Inglourious Basterds” is a big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s the real thing, a director of quixotic delights. For starters (and at this late stage after the premiere in May at Cannes, I don’t believe I’m spoiling anything), he provides World War II with a much-needed alternative ending. For once the basterds get what’s coming to them.

From the title, ripped off from a 1978 B-movie, to the Western sound of the Ennio Morricone opening music to the key location, a movie theater, the film embeds Tarantino’s love of the movies. The deep, rich colors of 35mm film provide tactile pleasure. A character at the beginning and end, not seen in between, brings the story full circle. The “basterds” themselves, savage fighters dropped behind Nazi lines, are an unmistakable nod to the Dirty Dozen. www.130q.com

And above all, there are three iconic characters, drawn broadly and with love: the Hero, the Nazi and the Girl. These three, played by Brad Pitt, Christoph Waltz and Melanie Laurent, are seen with that Tarantino knack of taking a character and making it a Character, definitive, larger than life, approaching satire in its intensity but not — quite — going that far. Let’s say they feel bigger than most of the people we meet in movies.

The story begins in Nazi-occupied France, early in the war, when the cruel, droll Nazi Col. Hans Landa (Waltz) arrives at an isolated dairy farm where he believes the farmer (Denis Menochet) is hiding Jews. He’s right, and a young woman named Shosanna (Melanie Laurent) flees into the woods. It is for this scene, and his performance throughout the movie, that Christoph Waltz deserves an Oscar nomination to go with his best actor award from Cannes. He creates a character unlike any Nazi — indeed, anyone at all — I’ve seen in a movie: evil, sardonic, ironic, mannered, absurd.

The Hero is Brad Pitt, as Lt. Aldo Raine, leader of the Basterds. Tarantino probably wants us to hear “Aldo Ray,” star of countless war films and B pictures. Raine is played by Pitt as a broad caricature of a hard-talking Southern boy who wants each of his men to bring him 100 Nazi scalps. For years, his band improbably survives in France and massacres Nazis, and can turn out in formal eveningwear at a moment’s notice. Pitt’s version of Italian is worthy of a Marx brother.

The Girl is Shosanna, played by Laurent as a curvy siren with red lipstick and, at the film’s end, a slinky red dress. Tarantino photographs her with the absorption of a fetishist, with closeups of shoes, lips, a facial veil and details of body and dress. You can’t tell me he hasn’t seen the work of the Scottish artist Jack Vettriano, and his noir paintings of the cigarette-smoking ladies in red.

Shosanna calculatingly flirts with Frederick Zoller (Daniel Bruhl), a Nazi war hero and now movie star; he persuades Joseph Goebbels to hold the premiere of his new war film in her theater. This sets up a plot that includes Tarantino breaking several rules in order to provide documentary footage about how flammable nitrate film prints are.

A Tarantino film resists categorization. “Inglourious Basterds” is no more about war than “Pulp Fiction” is about — what the hell is it about? Of course nothing in the movie is possible, except that it’s so bloody entertaining. His actors don’t chew the scenery, but they lick it. He’s a master at bringing performances as far as they can go toward iconographic exaggeration.

After I saw “Inglourious Basterds” at Cannes, although I was writing a daily blog, I resisted giving an immediate opinion about it. I knew Tarantino had made a considerable film, but I wanted it to settle, and to see it again. I’m glad I did. Like a lot of real movies, you relish it more the next time. Immediately after “Pulp Fiction” played at Cannes, QT asked me what I thought. “It’s either the best film of the year or the worst film,” I said. I hardly knew what the hell had happened to me. The answer was: the best film. Tarantino films have a way of growing on you. It’s not enough to see them once.