In analysing and deconstructing the opening scene of Inglourious Basterds (Dir. Quentin Tarantino, 2009), I will focus on the use of exposer, production design, performance, shot construction and camera movement. Through these production elements, I hope to achieve a greater insight into how Tarantino created one of my all time favourite opening scenes.

The exposer of the scene is an interesting one. The majority of the scene is composed of wide shots, including the details of the darkened corners of the farmer’s cottage, while also the details of the sunny landscape outside. (I’m inclined to believe that was probably CGI, added in post, but I couldn’t find confirmation.) Nonetheless, to include such a large spectrum of light within the scene, the camera operator set the exposer so in the areas of light, streaming in from primarily above, is a little blown out. When Col. Hans Landa (Christoph Waltz) slides his hand, holding the glass of milk, into the light, it looses significant detail. We are unable to tell how full the glass is anymore. However, we can still clearly see the rumpled details of his dark Nazi uniform. It is a curious exercise to imagine if the camera had used a zebra pattern, and what it must have looked like? I assume the table top would have been filled with stripes to highlight too much light falling on the image sensor. In a scene with such variance of light, and so full of detail, it must have been difficult to set the exposer. At least, I imagine I would have struggled a lot. I feel like I would have felt inclined to reduce those zebra stipes, and set the exposer so that I would loose all of the darker details of the lower third, in the name of not having blown out whites in the centre of the table. However, after watching the entire scene through multiple times, I realised that would be incorrect. The scene looks entirely natural. If I placed myself at that table across from Col. Hans Landa, the light from above would in fact blow out the table. Through the use of exposer, Tarantino has created an aesthetic that feels as rustically real and believable as the characters sitting at the table, byway of its imperfections.

The use of production design in this 17-page, dialog heavy scene, tells a story in of itself. The glass of milk prop is introduced early in the scene, and is purposely kept in frame in every shot there after. In fact, Tarantino cheats the shot to include the glass of milk alongside the German colonel’s peaked hat, in Perrier LaPadite’s (Denis Ménochet) shots, as well as in being centre stage in Col. Hans Landa’s shots. The milk acts as an omnipresent reminder that Col. Hans Landa is in total control. He can take their milk, he can take the Jews hiding under their floorboards, and he can take their lives if they should try to stop him. Christoph Waltz’s performance is extraordinary in this scene. Through an unpredictable combination of polite smiles and dead serious facial expressions, the audience is left unable to foresee how the scene will play out. Evoking a strong emotional response, increasing tension, and leaving them on a razors edge. Through the guise of politeness, by Col. Hans Landa acting as if Perrier has any control in the situation, (e.g. asking his permission to switch to english) reminds Perrier how little control he has. Subtly flexing his power.

While the scene is mostly composed around a sit down conversation, the camera movement is not locked off. When Col. Hans Landa leans back in his chair, the camera ever so slightly pans to follow the movement. It is subtle, but I really like it, it brings the scene alive.
Side note: I reflected back on our in class Lenny exercise. Also a sit down conversation, in comparison, our locked off shots looked a little stale. This is defiantly a tool I will utilise with our group shoot (also a planned to revolve around a sit down conversation)
The slight camera movement adds to the tension that is already on a slow boil, like a coiled snake (or more appropriately, a hawk) ready to strike at any moment.

In conclusion, the combination of exposer and actors performance, contribute to the believability and authenticity of the scene. In addition, the use of production design adds to the narrative tension and power imbalance between Col. Hans Landa and Perrier LaPadite. Which at its heart, is what makes this scene one of the best.

Word count: 765