Saturday Night at the Movies Vol.1
Django Unchained (2012)
May I extend to you the warmest of welcomes to “Saturday Night at the Movies” and the first of three gems in our triple bill of cinematic delight.
You can “read along” with me via my Youtube channel reading of my own review recorded late last Summer of a lengthy treatise originally penned and published over a decade ago and within a love-in career appraisal of the one, the only, Quentin Tarantino.
Or you can simply skip merrily on to my spoiler free review below.
Help yourself to the chocolate biscuits, pour yourself a glass of wine and put your feet up and relax.
“How much for young Django here?”
To say I was excited at seeing this for the first time would be a huge understatement. To say, as I did on Twitter, that watching a new Tarantino film as an unashamed and myopic fan, is akin to plugging every fibre of your being into the Matrix was both mixing my metaphor’s and getting a little carried away with myself. But hey, I’d just seen a genius’ latest creation, and what a creation it is. It’s too early to judge the “critical reaction” but I have no doubt it will follow. There has already been a very public spat between Spike Lee and Tarantino regarding the use of the word “nigger” throughout the film (130+ times) and the usual outcry against the overt violence in the film.
To base a judgement purely on these two terms is both ridiculous and as myopic perhaps as my love for the Director. That word is overly used, but squarely within the context of the film. I will detail my take on this later in the appraisal. The outcry over the violence employed is equally overblown and a lazy criticism yet again labelled at the Director. At times it is graphic, prolonged and disturbing and at others it is balletic, operatic and a joy to behold. Context is everything. Equally, this film isn’t for everyone but as that myopic and lifelong fan of Tarantino I loved this new film on a par with “Death Proof” and “Inglorious Basterds” which is high personal praise.
On with the film!
The opening twenty minutes (as with Inglorious Basterds) is a showcase for the wonderful acting talent that is Christoph Waltz. Along with Jamie Foxx, they are our two heroes for the duration of this 165 minute Western epic which is set in 1858 and two years prior to the American Civil War. These opening twenty minutes, whilst not introducing us to the entire cast, are an absolute joy, contain many Tarantino themes which please the geek fan in me, and here’s my brief appraisal:
With a trademark opening shot of an old style Columbia Pictures icon, this fades into yet another Tarantino trademark, of an uplifting and iconic soundtrack and the film’s signature tune “Django” by Luis Bacalov. A brilliant, Western inspired track and one that sets the table for a soundtrack to the film that is yet again eclectic and brilliantly inspired. Throughout the full playing of this signature tune are red emblazoned opening titles set against the backdrop of black slaves, badly scarred and beaten walking slowly in a chain gang through an arid and unforgiving desert. Our hero, “Django” (Jamie Foxx) is only fleetingly front and centre, but interestingly so in a homage to Tarantino’s 1997 film “Jackie Brown”.
Arriving at a wooded area with many of the chained slaves visibly tired and one falling to his knees in exhaustion, enter from the distance the film’s star and yet another virtuoso performance of utter brilliance from Christoph Waltz as “Dr King Shultz”. Immediately evident is his balletic and eloquent style of speaking despite the in joke use of it being “a second language” to him. Waltz immediately dominates the screen despite being a stranger among heavily armed guards and slaves, his language and demeanour immediately upsetting the less loquacious of the guards.
Walking along the line of chained slaves he settles on Django and with a huge, calming smile addresses him to secure information. Django, unaccustomed to such friendliness cannot look at Shultz but rather it’s Waltz’s timing here, even in a very brief scene that excels. His smiles and nods are always in time as the camera remains fixed on him throughout their brief exchange, with Django rather more deliberately obscured and out of focus. Their conversation cut short by the two irritated guards, both of whom have now drawn their guns upon him, Shultz’s smile as he approaches is one of wanting to bargain for the slaves, and Django in particular, however with gun’s cocked and aimed towards him he drops his lighted lamp and in one movement kills one guard “fancy pants” indeed(!) and kills the second guard’s horse, immobilising him underneath the weight of the dead animal.
Completing his business with the remaining still alive guard, it’s clear that Shultz isn’t the dentist he proclaims to be, rather a bounty hunter (no spoiler as this is evidenced very early on!) but it’s Christoph Waltz’s performance that is yet again sublime and captivating. With his distinctive eloquence, he issues a “Bill of Sale” for Django and conducts the conclusion of his business with a sublime authority with the still prone guard, hitting the said guard deliberately on the head with the money used to purchase Django. Darkly comedic throughout the opening ten minutes, it’s Christoph Waltz’s warm smiles and nods that accompany the in jokes and dark comedic references brilliantly.
Before our heroes ride off there are three interesting points of note to be made, as firstly, Tarantino makes a first use of a slow motion camera as Django ceremoniously disrobes from his slave clothing and a reassuring second point is that a certain brutal guard gets his bloody comeuppance from the freed slaves. Thirdly, we again return to a virtuoso performance from Christoph Waltz as he gives the freed slaves two choices, “or two, you could unshackle yourselves, take that rifle, put a bullet in his head and bury the two of them deep, and make your way to a more enlightened area of this country”, before a brief astronomy lecture and a “Ta Ta” to finish.
Sublime.
Cue the brilliant “Braying Mule” soundtrack from Ennio Morricone and a short but bizarre exposition segment leading to the final scene of the opening 20 minutes.
Our two heroes have taken residence in a local saloon or Inn and when you see this film you’ll understand why I’ve chosen my words carefully and coyly here, but again Christoph Waltz is to the fore with a delightful “Alas! Now we must act as our own bartender!”, doing so in a Tarantino trademark close up, holding court as he does so. He continues to do so with his account of the slave trade, of bounty hunting and all with an air of complete relaxation, supping his beer with delight. Django, sitting opposite him in a very simple bar room scene is still unable to fully look him in the eye, cupping his beer in both hands, listening to Dr King Shultz’s proposition before
“On cue! Here come’s the Sheriff!”
Our two heroes walk through the swinging doors of the saloon, Django hesitantly looking around at the massed audience from the town, whilst Dr King Shultz purposely walks ahead of him and confronting the Sheriff, shoots him in the stomach. Cut to a wider angled shot of the town and to a circling Shultz who calmly stops before shooting the Sheriff again, this time in the head. As the townsfolk flee in all directions, amidst fainting ladies and cries everywhere, Shultz proclaims triumphantly and with a smile “Now you can go get the Marshall!”. Whilst Ennio Morricone’s “Braying Mule” plays again, sit back in delight and enjoy the remaining 145 minutes of this wonderful film from a genius of a film Director.
The all star cast in support of Christoph Waltz’s virtuoso performance (watch for his little touches, gestures and nods that top the performance, plus of course introducing his horse by name every time he interacts with a new character!) is a typical Tarantino mix of rising stars, stars of the past and cameos from trusted returnees of previous films. Notable cameo and vital roles fall to Bruce Dern as “Old Man Carrucan”, Dennis Christopher as “Leonide Moguy” and returnees to a Tarantino film are Zoe Bell, Michael Bowen and James Parks all as various “Trackers” and the wonderful Michael Parks also cameos as a “LeQuint Dickey Mining Company Employee” alongside the Director himself, cameoing again in his own film.
However the marquee stars not already noted follow below, and we’ll start with Django:
“Django” (Jamie Foxx) Grows into the film in line with that of his character and dominates the screen by the end of the film as all true heroes should. His dual scenes with Waltz are a joy, especially again as his character and background develops, oh, and it’s “Django, the D is silent”.
“Broomhilda” (Kerry Washington) On paper, Django’s wife. But so much more. A stunning performance from Washington, whose portrayal in the flashback sequences are just heart breaking.
“Calvin Candie” (Leonardo Di Caprio) A self confessed “seasoned trader”, Di Caprio is magnificently over the top as perma smoking Candie. Pouting, gesticulating, camp even, but sadistic and driven to win at all costs. A superbly disturbing performance.
“Stephen” (Samuel L Jackson) A regular Tarantino collaborator, Jackson again provides a “take” on a character all of his own. Limping, aged senior Head Servant for Candie, he infuses much needed dark black humour and a duality of character that says so much. A unique performance.
“Big Daddy” (Don Johnson) Smallest of the marquee roles, a Plantation and Slave Owner visited by our heroes, he excels in his earliest scenes when bargaining with Dr Schultz.
Quentin Tarantino (Writer/Director) Leaving the best until the very last, but worry not, this is not a treatise on his acting skills, but of his Directing prowess and the creation of yet another stunning cinematic classic. Firstly, Quentin is indebted to Editor Fred Raskin, his first film editor since the death of his regular and trusted collaborator Sally Menke. No doubt Quentin was heavily involved in the editing process, but the film’s trademark quick cuts are a tribute to Raskin. A similar tribute is due to regular Director of Photography Robert Richardson, capturing the many changing settings perfectly and as you’d expect from a western stylised film, the wider shots of the surrounding vistas are brilliantly blended throughout the film. Some of the elongated horse riding scenes are brilliantly captured by Richardson, one of the film’s many joys. Sharen Davis (Costume Design) and Production Designer J Michael Riva also deserve special praise.
The soundtrack is yet again a joy all of it’s own and highly recommended. Leaning heavily on Ennio Morricone’s iconic western influenced tracks, the soundtrack is also an eclectic mix (what else?) of joyful, uplifting tracks like “Freedom” by Anthony Hamilton & Elayna Boynton which is brilliantly used in one particular heart rending flashback. Apart from this and the aforementioned title track and Morricone’s beautiful interludes, the eclectic mix continues with “100 Black Coffins” by Rick Ross, “I Got A Name” by Jim Croce and “Who Did That to You?” by John Legend as particular (and perhaps more popularly known) standouts. However, there are many more Tarantino inspired gems interspersed within the action, particularly “La Corsa” by Luis Bacarov, “Nicaragua” by Jerry Goldsmith and my particular favourite, the beautiful and haunting “Ancora Qui” by Elisa Toffoli.
The criticisms? The word nigger is used far too much but sadly and a reflection of the unenlightened times, all within context. That particular six letter word (for it is just a word after all, or perhaps just pixels as you’re reading this on a computer screen) dominates the film and very definitely jars at times. Deliberately so, and on many levels too. The alleged count of 130+ uses could easily and sadly have been nearly double that, as other oblique and equally racially abusive terms are used throughout the film in it’s place. The stigma of this word and others like it will always jar an audience and thoroughly offend many people watching but here, as opposed to say, “Pulp Fiction”, there is a very obvious duality to it’s use. Historically of the time yes, overused yes, but the juxtaposition of the characters who use it and to what ends raise interesting questions throughout. Similarly so is the portrayal of black slaves being inhumanely herded around and treated like cattle, some of which is appallingly graphic. The aristocratic white skinned reaction to a black man on a horse is shocking, but again, deliberately so. The contempt shown very definitely jars in many scenes, as does Django’s verbal and physical abuse of fellow black skinned people. Context is needed again.
Prior to release, the now infamous hooded Ku Klux Klan meeting was broadly attacked. Offensive? Yes. Poorly acted and the first of two real clunker scenes? Yes! But the farce of the meeting itself is a parody in and of itself. It’s absurd and ridiculous, and indeed ridiculed by the film itself. Deliberately, and not so deliberately. My criticisms are therefore four fold, overt use of one word (but in context), two very poor scenes which should have been cut (I’ll leave you to decide where the other poor scene resides in the film) and the fact the whole charade is wholly contrived.
But joyously so!
The triumphs? Returning briefly to the above Ku Klux Klan meeting is an obvious example and one that pleased me most as a fan. The middle, hooded on horses segment is very poor, however it is surrounded by a wonderful and very un Tarantino like wide shot of galloping horses thundering towards their absurd meeting which is brilliantly lit and captured, as is the final piece of the jigsaw of this particular scene, ending magnificently as it does, but spoiler limits prevent me from revealing its finale’. There are minor homages to past Spaghetti Westerns but far fewer than I expected and the film is all the better for it with the joy being to appreciate the minimal nods as we go. Continuing with this theme, there are very definite Tarantino nods again at his past films and trademark use of close ups (the bar scene and pouring of beer being the obvious example) but again far fewer than expected. The joy again is the minimal use of them, with “Crazy Craig Koons” being a brilliant example for all Pulp Fiction fans out there. Equally, the use of a trademark crunching fast zoom is used sparingly and effectively. Mexican Stand Offs? Of course there are!
It wouldn’t be a Tarantino film without them!
There are many more touches and flashes from Tarantino from films past and present, some subtly so but my overall (biased) reaction is of joy at this film, and of a film that left me (again, as a fan) smiling broadly throughout. Without spoiling any further, if you’re a fan of the Director you’ll enjoy the little touches throughout the 165 minute running time. Every scene has a Tarantino “look” of meticulous precision, of giving everything to tell the story and a lot, lot more. A notorious maker of violent films, the violence is all here, present and correct. The shocking aspect is the unexpected violence, the ferocity of which is truly disturbing at times, as is a pervading air of impending violence that is cleverly manipulated away by the story. As with “Reservoir Dogs”, much of the violence is thankfully off screen (don’t believe the hype) and the bloodiest and most extremely violent scene is captured, as only Tarantino can, in a balletic maze of slow motion cameras, quick edits and a thunderous musical soundtrack.
But above all, Tarantino returns to his most overlooked theme here, in that this is a love story above all else. Of our hero Django, searching for the love of his life, whatever it takes, Western style. Of unexpected friendship and indeed love for another man too, but I’m probably getting a little sentimental now.
It’s fantastic.
It’s loud.
It’s brash.
It’s subtle too.
It’s Tarantino!
This fan is glad to see the genius’ return.
“Auf Wiedersehen”
“Django Unchained” can also be found singing and dancing within volume 2 (of 7) of my “Essential Film Reviews Collection” on Amazon, with all 7 volumes free to read should you have an Amazon Kindle “Unlimited” package. Whilst you’re on my Amazon page, why not treat yourself to one of these fantastic self-published books too!
"The Essential Film Reviews Collection VOL.2" - link to Amazon
Thanks for reading. I hope this message in a bottle in The Matrix finds you well, prospering, and the right way up in an upside down world.
Hm, I didn't make it very far into this film, but your review definitely has me curious enough to try it again. Will definitely check out your links for the other QTs.