One of my pet peeves is how movies that draw on history often misrepresent it.
The phenomenon is at its worst with Oliver Stone epics that purport to be biopics and are mainly a figment of the director’s imagination. It wouldn’t matter so much if history were properly taught in the schools. But in the absence of basic historical grounding, for way too many viewers (especially youthful ones) the fiction replaces fact and becomes the stuff of history itself.
Now comes the Quentin Tarantino World War II film “Inglorious Basterds.” It’s fiction and presented as such, so that should get Tarantino off the hook.
And to a certain extent it does. Anyone stupid enough to imagine that a Tarantino film has any sort of historical truth to it is probably stupid enough to believe anything.
But I’m still disturbed by the plot point described in the following; I’m utterly convinced that many viewers will come away thinking it’s based on historic fact:
The film tracks the separate attempts to kill Hitler by two disparate forces, one being the “Basterds”, a motley crew of Jewish American soldiers out for revenge against the Nazis. The Basterds have a modus operandi whereby each man must cut off the scalp of a dead Nazi soldier, with orders to get 100 scalps each. The Basterds allow one German soldier to survive each incident so as to spread the news of the terror of their attacks. However, the Basterds carve a swastika into the forehead of that German.
This idea sprang full-blown from the head of Tarantino himself, who conceptualized Aldo, the leader of the Basterds (played by Brad Pitt) as a part Native American non-Jewish Southerner. In a recent interview Tarantino explained:
Basically, Aldo’s this character I’ve had in my mind for a very, very long time…[T]he fact that he’s part Native American is significant, because what he’s doing against the Nazi’s is similar to the Apache resistance, the ambushing of soldiers, desecrating their bodies and leaving them there for other Germans to find. Aldo’s idea is to find Jewish soldiers because he should be able to motivate them more easily because they are essentially warriors in a holy war against an enemy that’s trying to wipe their race off the face of the Earth.
Tarantino is either ignorant of the fact (or doesn’t much care; take your pick) that his fictional unit of scalping and body-carving Jews commit acts that go utterly against Jewish teachings and philosophy. The desecration and/or mutilation of the living or dead human body is strictly forbidden by Judaism—with the single exception of the act of ritual circumcision for Jewish males.
For example, those who follow Jewish law are not allowed to tattoo themselves or even to use cremation instead of burial (so that, in addition to all the other atrocities committed on Jews during the Holocaust, the tattooing of numbers on the arm and the crematoriums for burning the bodies were extra added offenses).
Here’s a fuller explanation:
In Jewish law, the human body belongs to its Creator. It is merely on loan to the person, who is the guardian of the body, but he or she has no right to deface it in any way. The body must be “returned” in its entirety, just as it was given.
Additionally, Man was created in “G”‘d’s image and likeness.”Any violation of the human body is considered, therefore, to be a violation of G”‘d Himself.
This general principle and law governs many [Jewish] laws, like those prohibiting self-mutilation or tattoos…This principle applies after death, too; any mutilation of the dead is prohibited…This is also one of the reasons why Jewish law does not permit autopsies other than in the most extenuating of circumstances.
Many secular Jews obviously violate some of these rules. But the guidelines indicate a very deeply-held and basic cultural and religious attitude of Jews, and Tarantino’s notion that Jews would be especially amenable to Aldo’s scalping and carving orders could not be more incorrect. In fact, respect for the integrity of the body is enshrined in Jewish law for the treatment of the corpse of the stranger and even the criminal (see this).
If you’re interested in historical accuracy, there actually was a secret commando unit composed partly of Jewish refugees from the Nazis during World War II, but it was a British enterprise. Kim Masters, whose father was one of these men, describes their exploits here. She writes:
…[O]ne day a notice was posted seeking anyone “wishing to volunteer for special and hazardous duty.” When my father reported for an interview, he was asked why he wanted to serve. “I think part of this war belongs to me, sir,” he replied.
All the soldiers accepted for the outfit that Winston Churchill called “X Troop” had to have false British identities. Obviously the hazards to them as men in the field would be greatly multiplied if the Germans knew that some of the commandos were European Jews. My father, Peter Arany, became Pvt. Peter Masters, who had been born in London, was a member of the Church of England, and had volunteered for the commandos from the Queen’s Own Royal West Kent Regiment.
Kim’s father is deceased. But she quotes some of the surviving Jewish-British commandos on the subject of the Tarantino movie:
Of course they haven’t seen the film, which opens later this month, but what they hate is the premise that Jewish soldiers would hunt for scalps or bludgeon prisoners with a baseball bat.
“We killed people elegantly, without that sort of thing,” said Tony Firth, now 90.
“Shocking!” said my father’s friend, Peter Terry, now 85. “I mean””really!”…
He never saw anyone abuse prisoners, whom he describes as a dispirited lot for the most part.
Another Jewish former commando named Manfred Ganz (whose cover name during the war was Freddy Gray), isn’t pleased with Tarantino either:
Ganz…doesn’t seem likely to be engaged by Tarantino’s comic-book violence. “To me, the reality was brutal enough,” he says. Ganz allows that Tarantino “has the right to express his fantasies.” But he would much prefer that the real story be told.
I’d much prefer it as well.
[ADDENDUM: Just now I happened to read a spoiler that gave away the end of the film. The ending is clearly fictional, at least to anyone with even a glancing knowledge of history. Perhaps that will help make more viewers consider the whole idea of the Jewish commando unit scalping and carving swastikas into Nazis as fiction, as well. But I wouldn’t bank on it.]
[ADDENDUM II: Here’s someone who seems to agree with me.]