OBSERVE, APPRECIATE AND ANALYZE- DJANGO UNCHAINED AND TARANTINO

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Tarantino in a nutshell

Tarantino can rip a horrific page out of history, put it through his chaotic mind, kick in biting strange comedies that demands laughter and yet never for a moment diminish or let us forget the brutal reality

Django unchained in a few words…

Most entertaining piece after pulp fiction. Excruciatingly funny in the first half all of it brought in a spirit of exaggerated funniness and violent absurdity. That’s the place where Tarantino is happiest: out at the edge, playing with genre conventions, turning expectations inside out, pushing up the violence to above toleration levels.

Remember the story plot?

Dr. King Schultz (Christoph Waltz), initially disguised as a dentist, bloodily frees Django (Jamie Foxx) from slavery in order to gain his assistance in tracking down a wanted man.  Once that’s taken care of, the pair team up to rescue Django’s wife Broomhilda (Kerry Washington) from the clutches of the villainous plantation owner Calvin Candie (Leonardo DiCaprio).

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How Intense is the Characterization in the movie?

Every major characters come across, strike a powerful and intense on-screen presence. At beginning, film centers around Waltz, whose character arc is perfect than any other, thereby giving a punching performance.

Leonardo DiCaprio makes for an evil force as he shines and you want him to continue down this unusual path.

Jamie Foxx too is rather strong when he’s given something to do, but oddly, even though his character is the centre of the film, he’s an afterthought in service of the more colourful DiCaprio and Waltz.

Stephen is a crucial character because he forces African-American viewers to acknowledge the role some of their forebearers played at the time. Kerry has nothing to do much except screaming for violent blows.

 

Memorable scenes…

The scene where the Klan members bitch and moan that they can’t see through the eye-holes on the hoods over their heads. That’s funny to the core.

And when the film offers one sensational sequence after another, all set around the two intriguing characters (Waltz and Di Caprio) who seem opposites but share financial and personal issues.

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Classy’ Tarantino

Tarantino loves elaborate rhetoric—the extremes of politeness, the beautiful word, the lengthy, ridiculous argument that becomes funny precisely because it’s so entirely beside the point.

The movie taken in a spaghetti western style adds to the impact, and the crappy filming techniques of 60’s is transformed into a new aesthetic form here, which only this ‘classy’ director can invent.

 

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