Quentin Tarantino's latest project showcased almost everything you probably love about the man. After rewriting the history of World War II with Inglourious Basterds, QT, this time, attempted to rewrite the history of American Slavery during the pre-Civil War period.
Django Unchained (2012)
A film by Quentin Tarantino
Partly based on the 1966 Italian Western film Django, Django Unchained tells the story of African-American slave Django (Jamie Foxx), and how he was freed by German bounty hunter Dr. Schultz (Christoph Waltz). The two agree on a deal to capture outlaws with large bounties, and rescue Django's wife from a plantation owner.
Not Tarantino's usual style, the film is told with a linear narrative. Though there are still the use of flash backs, the story flows naturally from beginning to end. The film starts with a distinct western-like score, with Django, chained and bruised, walking in the desert with a few other slaves. As the night progresses, in the deep, dark part of a forest somewhere in Texas, the white trader-owners of Django, the Speck brothers, suddenly and mysteriously meet German-bounty hunter posing as a traveling dentist, Dr. King Schultz. Out of nowhere (and with the perfect location and timing), Dr. Schultz finds the exact person he was looking for — Django. He inquires about him and his possible purchase, a couple of more dialogues (because Tarantino loves it), and the sound of the film's first (of the many) gunshot.
Tarantino wastes no time. The first kill is spot on, serving revenge in cold blood (and for the rest of the bloodbath scenes). QT shows slavery's horror without excuse: the lashing, the 'hot box', the branding, the cruelty of Mandingo fighting, and the several atrocious punishments (one scene showed a man being ripped to death by dogs). In this revenge epic, the ruthlessness of slavery is depicted in a way not always accurate but perfectly works for creative, comic sensibilities. Though it may still not surpass my fondness for Pulp Fiction, Django Unchained definitely lacks no violence, and is sometimes stimulating.
Even with the absence of QT's usual chapter-separation technique (and his famous trunk shot), the storytelling and dialogues remained clever and unhurried. However, Foxx appeared to only have one notable line: I like the way you die, boy. Waltz, who gave such a remarkable performance, got all the good ones with his classy, flawless character. Tarantino's Dr. Schultz felt like possessed the unrealistic ability to think of all the right solutions to every problem he gets himself into. His character points the direction of the plot in a way the director makes the most out of it. Not that I did not enjoy Foxx's performance, but with such strong presence from Waltz, Samuel L. Jackson (Stephen), and Leonardo DiCaprio (Calvin Candie), I choose him the least. Because in spite of being the main protagonists, Tarantino seems to have underwritten a tad of Foxx and Kerry Washington's (Broomhilda Von Shaft) roles.
Django Unchained (2012)
A film by Quentin Tarantino
Partly based on the 1966 Italian Western film Django, Django Unchained tells the story of African-American slave Django (Jamie Foxx), and how he was freed by German bounty hunter Dr. Schultz (Christoph Waltz). The two agree on a deal to capture outlaws with large bounties, and rescue Django's wife from a plantation owner.
Not Tarantino's usual style, the film is told with a linear narrative. Though there are still the use of flash backs, the story flows naturally from beginning to end. The film starts with a distinct western-like score, with Django, chained and bruised, walking in the desert with a few other slaves. As the night progresses, in the deep, dark part of a forest somewhere in Texas, the white trader-owners of Django, the Speck brothers, suddenly and mysteriously meet German-bounty hunter posing as a traveling dentist, Dr. King Schultz. Out of nowhere (and with the perfect location and timing), Dr. Schultz finds the exact person he was looking for — Django. He inquires about him and his possible purchase, a couple of more dialogues (because Tarantino loves it), and the sound of the film's first (of the many) gunshot.
Tarantino wastes no time. The first kill is spot on, serving revenge in cold blood (and for the rest of the bloodbath scenes). QT shows slavery's horror without excuse: the lashing, the 'hot box', the branding, the cruelty of Mandingo fighting, and the several atrocious punishments (one scene showed a man being ripped to death by dogs). In this revenge epic, the ruthlessness of slavery is depicted in a way not always accurate but perfectly works for creative, comic sensibilities. Though it may still not surpass my fondness for Pulp Fiction, Django Unchained definitely lacks no violence, and is sometimes stimulating.
Even with the absence of QT's usual chapter-separation technique (and his famous trunk shot), the storytelling and dialogues remained clever and unhurried. However, Foxx appeared to only have one notable line: I like the way you die, boy. Waltz, who gave such a remarkable performance, got all the good ones with his classy, flawless character. Tarantino's Dr. Schultz felt like possessed the unrealistic ability to think of all the right solutions to every problem he gets himself into. His character points the direction of the plot in a way the director makes the most out of it. Not that I did not enjoy Foxx's performance, but with such strong presence from Waltz, Samuel L. Jackson (Stephen), and Leonardo DiCaprio (Calvin Candie), I choose him the least. Because in spite of being the main protagonists, Tarantino seems to have underwritten a tad of Foxx and Kerry Washington's (Broomhilda Von Shaft) roles.
Furthermore, dealing with sensitive issues of slavery, Tarantino managed to stir some of his dark humor approach in this brilliantly written and executed, thrilling film. To the extent of blowing himself up in its last few minutes. With compelling cast, perfect balance of lengthy dialogues and sequences of violence, Django Unchained is a satisfying piece you would expect from Tarantino.
