A Hilarious History: The Best Films of the 21st Century
Lists, aren’t they wonderful? They allow us to organize, categorize, and, let’s be honest, feel a little superior. The New York Times, in its infinite wisdom, has compiled a list of the 100 best films of the 21st century. What makes this list even more compelling is the input from various creative industry figures, including directors, actors, and, well, all sorts of cinematic masterminds. Among those whose opinions were sought was comedy legend Mel Brooks, whose inclusion of Quentin Tarantino’s “Inglourious Basterds” on his list sparks an interesting discussion. It’s a fascinating juxtaposition of styles, but, as we’ll explore, Brooks and Tarantino share a surprisingly similar approach to the cinematic demolition of Nazi fascism.
Inglourious Basterds and its cinematic style seem quite different, but Mel Brooks’s slapstick approach, which is inspired by vaudeville and variety shows, and Tarantino’s pop-culture-infused style have one thing in common: they’re both on a mission to obliterate Nazi ideals through the lens of cinema. With their unique styles, both filmmakers offer distinct but parallel perspectives on the potential of the cinematic image as a weapon, a tool of deconstruction, and, ultimately, a force for liberation from the clutches of propaganda and the darkness of history. The very fact that both filmmakers, with their distinct styles, tackle such a heavy subject matter shows that both of them are masters of their craft, each of them capable of twisting the tools of cinema into their own weapons of choice, and each of them capable of delivering a message that resonates with audiences for years to come.
Unmasking the Power of Cinematic Illusion
Inglourious Basterds, at its core, is a multifaceted exploration of how cinematic images and the artistry of deception influence the public’s perception. The film masterfully juggles multiple plot threads, each offering a different perspective on the ways in which cinematic manipulation can be used for good or evil. We witness a Nazi propaganda film, designed to glorify a sniper as an avenging angel, and the counter-narrative created by French Jewish refugee Shosanna, who turns the propaganda premiere into a scene of destruction. This sets the stage for a larger discussion about the power of film. Moreover, the film’s narrative highlights cinema’s potential for both manipulation and liberation, showcasing how it can be twisted by those in power but ultimately turned against its intended purpose. This is how Tarantino crafts a narrative that not only entertains but also challenges audiences to question the nature of reality.
Cinema played a critical role in the rise and propagation of Nazi ideology. The film, Triumph of the Will, is the most notorious example of propaganda, effectively using the empathy machine to make fascism appear appealing. Tarantino, with his deep understanding of cinema’s potential for psychic violence, shows how those in power can twist it to create any illusion they desire. He exposes the fragility of the cinematic medium, ultimately at the mercy of those who control its narrative. The cinematic landscape, with its power to shape narratives and mold public opinion, is a battlefield where truth and falsehood collide. By presenting various narratives, Tarantino challenges the audience to see through the illusions and recognize the truth behind the screen.
Brooks’s comedic strategy: Stripping Nazis of Power
Mel Brooks, a man whose roots are grounded in theater, does not share Tarantino’s laser focus on cinematic history. Brooks’s films, like Young Frankenstein, brilliantly recreate various period styles, but his approach stems from theatrical instincts. His early success with The Producers and the infamous “Springtime for Hitler” musical number exemplifies this approach. Brooks captures the essence of the Nazi aesthetic, not with reverence, but with a comedic sensibility that mocks and ridicules the Nazis for their lack of self-awareness and tacky sensibilities. The joke of the musical is not only to make fun of Nazi regalia, it is to show the staging and decorum of the Nazis, highlighting their absurdity.
Brooks’s philosophy, particularly as a Jewish artist, is that mocking and ridiculing the Nazis is essential for stripping them of their power. The Producers is a testament to this, ridiculing their self-importance and undermining their terror. Through humor, Brooks challenges the Nazis’ authority. By using comedy, he makes a powerful statement against their oppressive regime. His approach isn’t about erasing the history of the Holocaust, but about reclaiming the narrative from the oppressors and reminding the audience of the power of laughter. In his mind, the Nazis’ power is diminished when they are subjected to jokes about their own self-importance, thereby taking away the terror they cling to. Brooks uses laughter as a form of resistance, taking power away from those who seek to instill fear.
Tarantino’s Twisted Tale: Laughing in the Face of Fascism
While the New York Times didn’t provide Brooks’s explicit rationale for including his top ten films, the connection between his approach and Tarantino’s is evident. One can imagine Brooks laughing in recognition when watching Inglourious Basterds, seeing Tarantino using the same rulebook, but at a different angle. Brooks throws tomatoes and banana peels at Nazis. Tarantino flips the camera back on the Nazis, exposing them. Brooks laughs at the try-hard efforts of their need to puff out their chests, and Tarantino laughs at their corpses as they get swastikas carved into their burning foreheads.
People recognize Mel Brooks’s work as comedy, but Tarantino’s films are rarely called that, yet Inglourious Basterds shares the same anarchic joy for destroying fascism. This film is simultaneously an uproarious comedy and an ode to cinema’s power, especially as a tool for political power. The saying goes that you laugh so that you don’t cry, but Brooks and Tarantino are too busy having fun with the world’s bullies, taking joy in the act of mocking the very people who sought to instill fear and dominate the world. Tarantino’s film isn’t just about making fun of history; it’s a reminder that even in the darkest of times, laughter and cinematic art can become powerful weapons against oppression. This ability to use humor to disarm and dismantle evil is what makes both Brooks and Tarantino such important voices in film history.
The Legacy of Laughter: Brooks, Tarantino, and the Enduring Power of Satire
Mel Brooks and Quentin Tarantino, despite their distinct cinematic styles, share a common goal: to dismantle Nazi ideology through the power of humor. Their work is a testament to the ability of satire to challenge power, expose absurdity, and provide catharsis in the face of historical trauma. By embracing laughter, these filmmakers have left an indelible mark on cinema, reminding us that even in the darkest of times, the power of a well-placed joke can be a potent weapon against tyranny. Whether it’s Brooks’s slapstick or Tarantino’s revisionist history, their shared commitment to comedic subversion underscores the enduring power of cinema to confront and ultimately conquer evil, one laugh at a time.