An interview with original ‘Inglorious Bastards’ director, Enzo G. Castellari

Despite having made over 40 films ranging from westerns to thrillers to science fiction, the recent attention on legendary Italian director Enzo G. Castellari is focused on his 1978 movie from which Quentin Tarantino's box-office hit, Inglourious Basterds, gets its name.  But whereas Castellari's Inglorious Bastards is a finely-calibrated, straight-up war actioner that--with gears and pistons über-lubed and in full-throttle--redirected an ailing genre, Tarantino's new movie, however, is less concerned with reviving that same genre than with serving as the antidote to the cold mechanics of his previous homage to exploitation, Death Proof, while simultaneously extending that movie's meta-cinematic discourse.  Much like Reservoir Dogs is a heist film without a heist, Inglourious Basterdsis, arguably, a war movie without a War, where the "Basterds" take up less screen time than the movie's real bastards, both of the female and male variety and all illegitimate children of a revolution that Tarantino stages not on the streets or in the air, but in the dark, flickering movie house of his imagination.

Via email from Italy, Maestro Castellari was gracious enough to answer a few questions regarding hisBastards, his career, and Tarantino's own Basterds.    

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