Oh hi, blog.
Django Unchained hits us blasting and smirking, bestrewn
with Morricone and enormous type. This is unmistakably a Quentin Tarantino concoction.
But this time, 'unmistakable' suggests a lack of
surprise. Now, Tarantino cannot be boring and Django Unchained is
characteristically wild and precise in its execution(s). This is the story
of a German bounty hunter (Christoph Waltz) and a slave called Django (Jamie
Foxx), who travel through the Old South to rescue Django's wife (Kerry
Washington) from the control of a plantation owner (Leonardo DiCaprio) and his
sinister house-slave (Samuel L. Jackson). It is entertaining, of course.
However, whilst always funny, brutal or smart, it does not
often enough mash all three together with the imagination of Reservoir Dogs or
Inglourious Basterds. They still coincide in key scenes, for instance the first
appearance of Waltz. He approaches two slavers and their 'property', and what
follows is a shock of amusing words ("Last chance, fancy pants") and cleverly
plotted mayhem. Waltz is bright and strangely convincing and, although Schultz
is not quite a match for Basterds' Col. Landa, he carries much of the film, taking
on its humour and human flaws and virtues.
Meanwhile, DiCaprio and Jackson inhabit Tarantino's line
between evil and charm. The director knows so well how to seduce us with such
characters. That line he paints is thick and lurid, unlike that etched in black
by Wilder and Hitchcock, and from it his films get their drive (certainly those
of the last decade). Here we have DiCaprio's sickening 'mandingo' fights, dogs
and hammer, all surveyed with a grin; the film kicks accordingly. Both
characters (DiCaprio's monstrous Calvin Candie and Jackson's monstrous Stephen)
get great and gleeful moments.
Tarantino has set out to emulate the spaghetti western in
Django Unchained, taking it to the South and piercing it with slavery. Doubt
starts to surface. Humour amid the bloodiest of violence, a feature of the
genre, does not always work (the bags-as-hoods skit raises a laugh, but feels out
of place). There are stylistic quirks and vintage Morricone cuts on the
soundtrack – but you had those in your movies already, Quentin. Are we to take
them at face value here? Having the spaghetti served up in a real-life, actual,
mock spaghetti western breaks the surprise. Then once Jamie Foxx starts to get
his Kill Bill on, those quirks seem to dissipate anyway; so by the time we
reach the huge set pieces and shoot-outs in the film’s final act, our sense of
place – Mississippi and Italy – has been lost.
Foxx is Django. The D is silent (this is a cool character). Django
is a sharp shooter and a sharp dresser. He is a man who loves his wife and is
bitterly injured by her foul treatment, which is atrociously believable. His initial
tussles with Candie are highlights and allow us to believe that at the centre
of Tarantino's audacious story is a fresh character capable of real power
and justice. But something is lost as he starts to deliver explosive revenge. He
is a cool character. He is an icon, a symbol, a Quentin Tarantino concoction.
Django is a vessel for violent catharsis – here to talk funny, act brutal and
look smart. For justice to be done, for African Americans to be emancipated on
the screen, he must be more than that. But it is entertaining, of course.
7.5
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