Inglorious Basterds: A German Fantasy, Not a ‘Jewish’ One

by John Rosenthal
Nearly eight million euros. Or more than eleven million dollars at the current exchange rate.
That is the total amount of subsidies that Quentin Tarantino received from German public sources for his Inglourious Basterds. The exact breakdown is as follows: €6.8 million from the German Film Fund, plus €600,000 and €300,000 respectively from the Media-Board of Berlin-Brandenburg and the so-called Middle German Film Fund. The German Film Fund (DFFF) is directly attached to the German government’s Ministry of Culture (or, more fully, Ministry of Culture and Media). Tarantino’s haul is even greater than the €4.8 million in subsidies that the German government contributed to the making of the historical revisionist thriller Valkyrie starring Tom Cruise.
Moreover, the German contribution to Inglourious Basterds appears to have been far more than just financial. Of course, there are the numerous German actors in the cast and the many technical contributions of Babelsberg Studio, where much of the film was shot. But there is even more than that. Although Tarantino himself, as befits a celebrated “auteur,” is the sole writer credited for the script, Tarantino’s German collaborators appear to have also made a very considerable contribution to the story and dialogue. A large part of the dialogue, after all, is in German. Some is also in French. The French dialogue, however, is invariably trite and almost entirely lacking in local cultural references. It could readily be the product of simple translation and appears to be just that.
The same cannot be said for the German dialogue. The German dialogue displays the linguistic robustness of the real German spoken by real German speakers. Moreover, the scenes in German abound with cultural references that only a native German or an expert in German studies would even get.
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