Django Unchained

Django Unchained

I am strongly berating myself for doubting something which I have always loved. I have long been an ardent fan of Quentin Tarantino (henceforth referred to as QT) and have been looking forward to Django Unchained for a while now. The awards’ season frenzy cast a doubtful pallor on my expectations as I started wondering whether QT and his latest film were receiving accolades merely for being an established name, being backed by the Weinstein brothers, being thrust into the public eye due to contentious issues and all sorts of other malarkey. QT and Django Unchained are garnering nominations and praise for one reason alone – they deserve it.

The film follows the story of a German bounty hunter, Dr. King Schultz, who partners up with the slave Django after buying his freedom. The two develop a remarkable friendship, culminating in a rescue mission for Django’s wife Broomhilda, who is still a slave and was sold separately from her husband. As ever, QT’s work bears his indelible mark as both writer and director, while remaining fresh and original. However, in true QT-style, he delivers this fresh innovation by doing nothing of the sort. As is his wont, he begs, borrows and steals from everything he loves to deliver something we recognise in a way we have never seen before. Django Unchained is a German opera told as an American Western with a black cowboy.

QT always allows his actors to own their roles, claiming ownership of the characters through his words. Jamie Foxx, as Django Freeman, proves that he should stay away from the flashy and the melodramatic and stick to the quiet characters he plays with determined restraint, because he thrives in these roles. Leonardo DiCaprio adds Southern flair to Calvin Candie in a performance that other actors would have rendered camp, but DiCaprio delivers with “panache”. Samuel L. Jackson is QT’s Hattie McDaniel, entertaining in a role which sees him aged beyond his own years and serving as a strong symbol of entrenched ideology. However, I reiterate a point I have made before that he often cannot help sounding like the archetype of the Sam Jackson we know. My giggles were barely controlled as his fierce “motherfuckers” peppered a brutal moment with comedy, foiled with simultaneously dramatic and comic precision by Foxx; while the fantastic chemistry between DiCaprio and Jackson is a delightful surprise. Kerry Washington’s performance as Broomhilda is on par, although she does not do much other than tremble and weep. And, of course, Christoph Waltz. As Schultz he delivers a meticulous and measured performance which wipes away any memory of Hans Landa. Cameos abound as always with the likes of Bruce Dern, Franco Nero, Don Johnson and Jonah Hill and, naturally, QT makes another Hitchcockian turn. The hinting of the beginnings of the Ku Klux Klan is utter genius, but there is a sense that the actors are enjoying the absurdity of the scene a bit too much.

Nigh on three hours it plods along at times. Then again, so did Unforgiven and Once Upon a Time in the West. So while it lacks the pace of Pulp Fiction or Inglorious Basterds, to do otherwise would have been contradictory. QT also abandons the fractured narrative and episodic structure of the latter films, showing a willingness to forget what he knows has worked before in order to try something different. Evoking the glory of the Western and the beauty of the land, are breathtaking shots of frozen panoramas across the U.S. interspersed with the glorious plantations of the wealthy South; with the ever present theme of revenge intricately woven in, without ever taking over.

QT never fails to surprise when it comes to the selection of his films’ music, unapologetically showcasing the contemporary with the classic. His soundtrack infuses the film with slick relish as tracks by Rick Ross, John Legend, James Brown and 2Pac propel the action. Ennio Morricone makes his presence felt again – this time more than just a director’s dream come true, but also as a nod to his own legendary contribution to the Westerns of the 60s. QT may not be one for historical accuracy, but he never lacks authenticity.

I really did not want to mention the violence, but I cannot sidestep the issue either. Mostly because audiences have been up in arms about the whole thing but, most importantly, because it is delivered so well in Django Unchained. Firstly, this is a QT film. If anyone is expecting a frolic in the park, they clearly do not know his work. Secondly: anybody who believes this to be an overtly violent film, seemingly only watches Hollywood films, and recent ones at that. If you want a taste of violence sample Asian cinema for a change or the early work of Peter Jackson. That is not to say that Django Unchained is not violent, but I reiterate: when has QT not been? However, the violence does not consume the film and is delivered with style, allowing it to serve the story and back up the commentary, while indulging the audience in angry catharsis. Heightened moments punctuate the film evocatively with mesmerising shots such as the splattering of blood on white roses and horses’ manes.

QT is undoubtedly an acquired taste. People may not understand the violence or appreciate his wit and my opinion may be coloured by bias and a fascination with American history – but taking into account that this was combined with lowered expectations, I would say that this just might be his masterpiece.

Originally published on Dinner and a Movie.

Image source.

Leave a Reply