MPAA Rating: R/ Genre: Revisionist Western/ Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, Samuel L. Jackson, Walton Goggins, Dennis Christopher, James Remar, David Steen, Dana Gourrier, Nichole Galicia, Laura Cayouette, Ato Essandoh, Sammi Rotibi, Clay Donahue Fontenot, Escalante Lundy, Miriam F. Glover, Don Johnson, Franco Nero, James Russo, Tom Wopat, Omar J. Dorsey, Don Stroud, M. C. Gainey, Cooper Huckabee, Doc Duhame, Jonah Hill, Lee Horsley, Rex Linn, Misty Upham, Danièle Watts, Russ Tamblyn, Amber Tamblyn, Zoë Bell, Michael Bowen, Robert Carradine, Jake Garber, Ted Neeley, James Parks, Tom Savini, Jacky Ido, Michael Parks, John Jarratt, Quentin Tarantino, Bruce Dern/Runtime: 166 minutes
I think it can be safely said by this reviewer that it was all but inevitable that eventually movie goers were going to see iconic film helmer (and honorary TSA member….if you know, you know) Quentin Tarantino decide to take on the Western genre of movie magic. I mean in all fairness some of his prior cinematic efforts like both Kill Bill movies and even 2009’s Inglorious Basterds did have on long-term loan some components from this particular genre with special regard to the so-called “spaghetti westerns”. Thankfully, there is a slice of cinema that finally saw Tarantino jump into the deep end of the pool so to speak, 2012’s Django Unchained, and honestly it is fanfreakingtastic. Of course, don’t get me wrong dear reader: if you had no idea what kind of film this was, I can safely say that there is no confusing where the source of Tarantino’s inspiration lies since even the title of this slice of cinema makes it clear that he is at the helm of a film that is both a throwback to and his take on those aforementioned iconic spaghetti westerns of ol’ with particular regard to one that was made in the late 60s also called Django. Heck the opening credits of this film even utilize that movie’s theme music! Of course, if you are concerned that this film is where we see Tarantino just crib religiously off someone else without trying to put his own spin on things, I am proud to say that you would be mistaken as this is very much a Quentin Tarantino film through and through. It is when looking at the film through that prism that the argument could be made that yes there are certain aspects of this film that do come dangerously close if not directly tip-toe over a few lines that should not be crossed. However even so, here is a slice of cinema that remains engaging from beginning to end miniscule flaws aside. Indeed the work behind the camera is phenomenal, and the cast of well-chosen players are all acting at the peak of their abilities to such an extent that I can easily say that Django Unchained is not only of the finest movies from 2012, but one of the best Westerns in the past two decades period as well.
The plot is as follows: Taking us all the way back in time to the long-ago year of 1858, Django Unchained gets its rollicking saga underway as we see a pair of brothers on horseback by the names of Ace and Dicky respectively leading a group of men in chains through the Piney Woods region of Texas in the dead of night. We soon see the stillness of the night interrupted however by the arrival of a seemingly affable enough German chap named King Schultz who swiftly makes it clear that he wishes to conduct a business transaction with the brothers. It seems amongst the group of men walking there is a guy by the name of (get this) Django who has had interactions with a trio known as the Brittle Brothers that Schultz is looking for due to….reasons and he needs Django’s help to find them. We soon learn in a very…visceral way that Schultz is a member of that elite group known as bounty hunters and he is looking to kill the Brittle Brothers to cash in on the reward being offered by the law which he incidentally offers to share with Django should they be successful. Yet when Django shows impressive skill with a gun during their travels together, we see Schultz decide to teach our hero the tricks of his trade and it isn’t long before the duo has soon become a dynamic team in their pursuits of criminals. Through it all however, we soon learn that Django’s main goal with all of this is to eventually make enough money to buy his wife her freedom. Sadly, he also can’t figure out who she was sold to in the aftermath of the last time they attempted to run away together. Fortunately, we see through Schultz’s resourcefulness and Django’s tenacity that the duo is able to make their way to Mississippi where they are soon able to uncover evidence that seems to strongly suggest that Django’s lady love was sold to a particularly infamous slaver by the name of Calvin Candie to go work at his infamous, and ironically-named, plantation Candyland. Thus, with this knowledge in mind and their guns in their sharp-shooting hands, we see Django and Schultz attempt to outmaneuver a man who might be their toughest opponent yet and come up with a way not only to outsmart him, but to save the life of Django’s lady love even while having to also keep an eye on their own backs as well….
Now in terms of the work done behind the camera, it should be said that every single department is brilliant both in terms of independent of one another and within the framework of the film as a whole. Indeed, right off the bat, this starts off with the fact that those of you who are avid fans of Tarantino will by no means be let down by this slice of cinema. I say that because, as par for the Tarantino course, his way with dialogue is still very much a wonderful mixture of both witty and insightful in equal measure even if it also by the same token also manages to go into possible overkill territory for some audiences in regards to how often a certain word is utilized. We also see that Tarantino’s gift for creating moments that are instantly iconic is also on point here as there are at the very least a handful of moments with particular regard to a scene where a group of racists about to attack Django and Schultz at their camp get into an argument over being able to see through their self-made masks that I can see being a delight for years and years to come. On top of that, the violence in this is wonderfully filmed, rivetingly executed, and maybe just a teeny tiny wee bit on the bloody side. At the same time though, this slice of cinema for how much of a genre mash and amusing it can be, this film also has a grimly serious undertone to it. A serious undertone consisting of just how evil a lot of the white characters (and a couple of the African American characters incidentally) are including a nightmarish scene where some dogs are set on a guy and proceed to rip him apart, a scene featuring what is known as Mandingo fighting among other elements that will leave you wincing or agape at the level of just plain cruelty on display. Now it is worth noting that this slice of cinema’s lead production designer may have tragically passed away while filming was underway, but trust me when I say his talent definitely still shines through especially in the inside of Candyland as well as a certain establishment where Schultz and Django first meet Candie. On top of that, we see that the work done by the cinematography is truly glorious and feels right at home with this film’s Western genre trappings. Finally, it should be noted that in terms of this slice of cinema’s soundtrack this film is an engaging, rousing, and eclectic mix of musical selections ranging from the iconic Ennio Morricone to artists like James Brown and 2Pac. Suffice it to say that the work done behind the camera is nothing short of fantastic at building the world of the film in a potent yet vibrant manner.
With all of that being said, I do feel that as impressive as the work done behind the camera turns out to be, the work done by this film’s truly immense and impressive cast in front of the camera is also quite next level as well. Indeed, this starts with Jamie Foxx in the titular role and yet while there have been performances of his I have enjoyed immensely (Max in Collateral, Ray Charles in 2004’s Ray, Bats in Baby Driver, Dean “MF” Jones in Horrible Bosses, and Willie in Any Given Sunday to name but a couple), I feel that this is one that I could never tire of seeing him play. Yes there are a few moments where it seems like he is just merely going through the paces, but those are few and far between. Indeed the character of Django is one who, when you actually stop and think about it, does not have that much dialogue and instead communicates more through his actions especially those involving his guns. Thankfully, we see that Foxx does a brilliant job at working that to his advantage and giving us a guy who we can not only empathize with and root for in his mission, but is also someone who we love to see dispensing with bad guys left and right. Suffice it to say that it is a truly fantastic performance and one that should have gotten Foxx at the least an Oscar nod. We also see that, in the role of Django’s mentor/friend Dr. King Schultz, the eternally delightful Christoph Waltz manages to give another wonderful performance in Tarantinoland following his brilliantly chilling turn in 2009’s Inglorious Basterds. Yet, unlike Landa who was a straight up merciless psychopath, the character of Schultz is one that is a cultured yet decent and upstanding guy who wants the best for Django and is willing to do whatever it takes to assist him in his mission even if sometimes he has to cool Django’s hotheaded ways down just a tad. More than that though, Waltz does a wonderful job of just perpetually making Schultz someone who is a low-key sarcastic individual who enjoys the fact that sure he knows how to shoot and kill a man, but for him it’s always more fun to just outsmart them instead. Suffice it to say it’s a wonderful performance from an actor I always enjoy seeing show up in a movie. Now I’m not going to lie to you dear reader: despite his billing in this, it does take at least a good solid hour before Leonardo DiCaprio makes his way into this film. However, this does work to the film’s advantage since not only does this give the film the vital time necessary to build up both Django and Schultz as characters, but because Leo’s part is meant to be a co-starring role at best. Even with that in mind however, there is no doubt that as Calvin Candie, Leo is having the time of his life playing this genuinely evil man who is rotten to the core right down to his teeth (I mean seriously dude there’s a thing even back then called dentists. Look into one.) yet not only relishes it, but also manages to possess a sinister charm about him that is just downright hypnotic. Indeed, it might take a while for him to show up, but trust me when I say that when he does Leo manages to take this role and make it one that is equal parts perversely comedic yet genuinely terrifying in equal measure with one heck of an exit to boot. As for the most deplorable individual in the entire film however, that honor would go to Samuel L. Jackson who yes is downright hiss worthy in this, but who is also a perverse delight in every sense of the word. Finally, it should be said that in the role of Django’s lady love, I did really appreciate the work done here by Kerry Washington and I felt that she and Foxx had genuinely wonderful chemistry with each other. Suffice it to say that from the aforementioned parts right down to the smaller roles being played by such screen icons as Walton Goggins, James Remar, Don Johnson, and Jonah Hill to name a few, it can be said that Tarantino’s talent for attracting top-tier talent to come to play is still very much as alive and thriving as ever.
All in all so it shouldn’t come as a surprise to learn this dear reader, but I love the heck out of Django Unchained. No it is by no means Tarantino’s best as far as I am concerned (an honor I still give to Pulp Fiction incidentally), but nevertheless this is still a genuinely great time to be had if you are the audience for it. Yes there are some people who may take issue with some of the content and yes there are those of you who might take issue with the number of times a certain word is uttered here. For those of you who are still here however, Django Unchained is very much a Quentin Tarantino slice of cinema to its roots. Indeed there may be a few issues here and there and Tarantino does make a cameo appearance that is a teeny tiny bit distracting, but this is still nonetheless a film that is a wonderful and genuinely heartfelt in its own unique way throwback to the iconic genre of movie magic that is the Spaghetti Western whilst operating with enough visceral content and biting humor to make Tarantino fans smile with unashamed glee. Suffice it to say the work behind the camera is lovingly and passionately done and the work in front of the camera by this slice of cinema’s talented cast of players is on point no matter the size their role may be. Thus, if you are either a Tarantino fan or an adult movie goer in the mood for an enjoyable slice of cinema that isn’t quite like the rest that the realm of movie magic has given us in the past decade then definitely give this one a look. I promise you won’t regret it. On a scale of 1-5 I give Django Unchained a solid 4 out of 5.
