Dir: Quentin Tarantino
Stars: Jamie Foxx, Christoph
Waltz, Leonardo DiCaprio
Quentin Tarantino’s seventh film as a writer-director
endured much criticism from the press before its release. Spike Lee publicly
stated that he would not watch the film, as he viewed its content as disrespectful to
the genocide of his ancestors, and also challenged the writer-director’s
“infatuation” with the word ‘nigger’. Moreover, in the wake of the most recent
American school shooting in Sandy Hook, the press’ predictable scrutiny of
movie violence again reared its head – resulting in Tarantino refusing to
answer questions on the matter in an awkward interview with Channel 4’s
Krishnan Guru-Murty. Today, Django Unchained is released in cinemas and,
having just seen the film, I predict that after the opening weekend the voices
of dissent will be in the overwhelming minority.
The movie sees Jamie Foxx star as the eponymous Django, a freed slave
who becomes the protégé of German bounty hunter Dr. King Schulz (Waltz).
Together, they scour the slavery-rich antebellum South killing wanted criminals
for large amounts of money. After surviving a prosperous winter, the two
assassins head to a Mississippi plantation known as “Candyland” to emancipate
Django’s wife Broomhilda (Kerry Washington) from the clutches of the diabolical slave fighter
and plantation owner, Calvin Candy (Leonardo DiCaprio) and his obedient house
slave, Stephen (Samuel L Jackson).
Django
Unchained is a violent spaghetti
western that has significantly less of the long, inconsequential dialogue that
is present in Tarantino’s earlier work, as well as marking a return to a
linear, single-story narrative. Yet, even with a running time of 165 minutes,
there is no point in which the script dithers. The strongly defined three acts
explore the horrific brutality of slavery, the unjustified disrespect for human
life, the tremendous value of freedom, and the unquenchable thirst for revenge.
Although there is an incredible darkness underlying the entire piece, this
ultimately only serves to fuel the satisfaction gained from Django’s roaring
rampage of revenge.
This latest historical extension of the Tarantino universe is a welcome treat for fans of genre cinema, and the world he creates is littered with cinematic
references. There’s a cameo appearance by the original Django, Franco
Nero; a sub-plot involving the gruesome practice of slave fighting, as explored in Mandingo;
a narrative that pays homage to exploitation favourites such as Day Of Anger
and Boss Nigger; subtle nods to films as diverse as The
Good The Bad and The Ugly, Gone With The Wind and A Clockwork
Orange; plus a soundtrack full of old spaghetti western themes. However, despite the post-modern
detachment, Django Unchained is probably the writer-director’s most emotionally engaging film.
This
is in no small part due to the performances from the diverse ensemble cast,
which are mostly exceptional. Christoph Waltz’s Dr. King Schulz is an incredibly
confident and cultured mentor, akin to Lee Van Cleef in Death Rides A Horse. Conversely, Samuel L Jackson’s portrayal of Stephen is not only perhaps the most
hateable black character in the history of American cinema, but also the finest
work Jackson has done in a long time. A supporting cast featuring the likes of
Jonah Hill, Walton Goggins and Don Johnson also help to keep the audience engaged throughout.
In
spite of the out of context criticism that has preceded its release, Django
Unchained is Tarantino back at his best. Although likely to be overlooked by
the Academy, this stylised revenge tale’s aesthetic violence, effortless charm
and rewardingly bloodthirsty conclusion make it my favourite film of the past
year.
10
/ 10
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