After years of threatening to do so, Quentin Tarantino has
finally made his Western, or Southern as he would have it known. Django Unchained takes place in 1858 in Texas and its
surrounding states. On the eve of the Civil War and with slavery still thriving
in the South, a German Dentist called Dr. King Shultz (Christoph Waltz) comes
across a slave he has been looking for called Django (Jamie Foxx). Shultz, a
Dentist turned bounty hunter frees Django on the promise that the former slave will
help him track down three overseers who Django can recognise. Once the men are
dead and Shultz has his bounty, he promises Django $75 dollars and a horse but
decides to further help the man when he discovers that his wife Broomhilda
(Kerry Washington) has been cruelly separated from her husband and sold to the
wicked Calvin Candy (Leonardo DiCaprio).
As with any Tarantino film there have been moths of
anticipation for the release of Django
Unchained and the fact that it received five Oscar nominations and two
Golden Globe wins before it was even released in the UK further heightened my excitement
for its arrival. In the end the film doesn’t disappoint. It is a fantastic mix
of drama, comedy, cruelty and violence and features a typically excellent
screenplay and some terrific performances but a plodding finale and long run
time stop it from in my eyes joining the likes of Reservoir Dogs and Pulp Fiction at the top of the Director’s cannon.
Despite its harrowing subject matter, Django Unchained is Tarantino’s funniest film, for the first hour
and a half anyway. I rarely laugh as so much at most comedies and certainly
didn’t expect this film to be as funny as it was. I was prepared for a violent
and tough film full of horrible images and despicable cruelties. The film often
delivers that too but it has a lighter side which makes the first half
incredibly fun. Even with the humour you can never escape the fact that this
film is about slavery and it doesn’t shy away from showing some of the barbaric
devices and methods used to keep black people subdued. I’ve seen some of the
items used at a slavery museum in Liverpool
but to see them used up close on film is truly saddening. What makes it worse
is that what the film shows are just a fraction of the horrors over a
millisecond of time compared to the real thing. One of the most difficult
things to watch was the mandingo fight. This was something that I wasn’t aware
of before hearing about the movie and is utterly barbaric and disgusting.
Typically, Tarantino doesn’t shy away from showing his audience as much as he
is able to get away with. A later scene featuring dogs also makes for
uncomfortable viewing.
The movie is as always well written by Tarantino but I fear
it is far from his best. Watching Pulp Fiction on the same day probably doesn’t help but I feel that Tarantino has
produced several better scripts than this one. Even so it is still excellent as
an above average Tarantino script is generally well above an average script.
Here he writes in some great characters. Django is a fun character to watch and
Jamie Foxx’s natural swagger and arrogance matches his characters. In a way
Django is before his time and unlike many of the other black characters, he
doesn’t see that it is his place to be owned and serve. It is unfortunate for
Django and Fox that he is surrounded by characters that squeeze him out and
occasionally the central character fades into the background. Christoph Waltz’s
Dr. King Shultz is an example of Tarantino working at his best. Shultz is
elegant, smart, swarve and deadly and is the real driving force behind the
narrative. Waltz is absolutely terrific and deserves his awards recognition.
His teaming with Tarantino currently stands up as one of the best
Director-Actor partnerships of the last decade. I’d heard a lot of good things
about Leonardo DiCaprio before seeing the film and he is very good. His
character of the spoiled plantation owner is vicious and horrid and there were
cheers from the audience when his flower got damaged. One of the best characters
is played by another of Tarantino’s frequent collaborators, Samuel L. Jackson.
Having been at a career best for Pulp Fiction, Jackson
is on great form here playing what he calls ‘the most evil negro in history’. Jackson’s Stephen is a
head slave on Candy’s plantation and hates black people as much as some of the
white characters. He not only accepts his place in the world but makes full use
of his position not only to rule with an iron fist over the other slaves but
also influence the main house. His is a complex character who as it turns out
makes a lot of the big decisions on the Candy Plantation. Tarantino of course
has a small cameo but his Australian accent feels like a misstep.
A white man making a film about slavery would always draw
criticism and Tarantino has faced a fair amount. I don’t personally see the
problem with a white person making a film like this but I do fear that Django’s
success too often comes with the help of Dr. Shultz. Occasionally it feels as
though it is white guilt that gets Django where he is going rather than black
strength, intelligence etc. I do believe though that Tarantino made the film
with the best intentions and has a history of creating tales of revenge from a
downtrodden perspective. Kill Bill
(women), Inglorious Basterds (Jews)
and now Django Unchained (slaves) are
all tales of revenge as told from the perspective of those who are often
forgotten in cinema. It is true that Tarantino has put his unique spin on each
film but their likes would probably have not been made otherwise. The frequent
use of the word which shall not be muttered is in keeping with the characters
and period in my opinion.
Django’s
soundtrack differs slightly from many of the Director’s most famous but is
still recognisably Tarantino-esque. As well as traditional Western themes such
as Verdi’s Requiem and Beethoven’s Fur Elise the soundtrack also features
several pieces composed especially for the movie including songs by John
Legend, Rick Ross and Western legend Ennio Morricone. The soundtrack often
plays slightly more in the background that in some of Tarantino’s films but as
usual it is well judged and works well. Tarantino evokes the sense of the
traditional Western with cinematography that takes in wide vistas, slow
travelling montages, outlined figures in shadow and some beautiful set design.
He also adds his own touches such as quick zoom with a swoosh sound and the
bloody violence. The few old towns that are encountered look terrific and ooze
period detail. The costumes are also excellent not only fit well within the
created universe but also have the power to entertain.
Django Unchained
is certainly a great film and I enjoyed huge swathes of it but once a vital
character leaves the film it lost something. There is an extra half an hour
when you expect the ending is close and although this gives Django a chance to
get even it didn’t grab me as much as the opening two hours. There is also a
huge shootout towards the end which despite the crowd pleasing gore, didn’t
really add anything to the story. Overall though Django is a fun film which takes a sideways view at a tough issue.
It is recognisably Tarantino but more traditional than many of his films and I
thought that it lived up to my expectations.
9/10
GFR 9/10
Titbits
- Django wears sunglasses which weren't invented until 1929. The word motherfucker wasn't recorded until 1918.
- There is short a post credits scene which is worth waiting for.
- Joseph Gordon-Levitt, Sacha Baron Cohen and Kurt Russell all had to pull out due to scheduling conflicts.
First review after seeing the movie and I agree completely. That's always nice :)
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