Title: Django Unchained
Language: English, German
Genre: Action, Western, Drama
Director: Quentin Tarantino
Writer: Quentin Tarantino
Samuel L. Jackson
My first cinema-going in 2013 is dedicating to Tarantino’s DJANGO UNCHAINED, a Spaghetti-Western spoof colored with slavery exploitation, but with his usual stellar cast, talkative banters, pulp violence, it is an excellent body of work with mash-up entertainment, which safely to say, Quentin’s staunch fanboys will not be disappointed, while new blood may also be introduced since it has already been Quentin’s top-grossing film in the North American continent, driven by its 5 Oscar-nominations momentum like INGLOURIOUS BASTERDS (2009) three years ago (which actually procured a more impressive 8 nominations including BEST DIRECTOR), the international territory will soon be conquered without any doubt.
There are tons of laughter can be elicited during the lengthy 165 minutes, propelled by 3 great supporting performances, the hero Django has been outclassed for most of the time, a belated slaughter outburst only arrives in the last 15 minute. Christoph Waltz’s German bounty hunter has a joyous gloss with droll quips which is a far cry from his Oscar-winning role in INGLORIOUS BASTERDS, but deliciously refreshing. On the second half, when Leonardo DiCaprio’s plantation owner shows up, he outshines the rest of the group (even Waltz, maybe not Mr. Jackson) in his accurate Southern accent and infuses his wicked mien and charm with pitch-perfect showmanship, it is a daring attempt, and I must say I am very impressed. Last but not the least of the three musketeers, Samuel L. Jackson has eventually regained his ginger in another Quentin’s vehicle, his vicious stare sets a heinously creepy tone from his very first scene, and juggles with a minion’s subservience to mask his man-behind-the-curtain mastery. It is an ace in the hole to designate a black boss to circumvent all the presumed racist’s accusation around slavery, Quentin Tarantino is a virtuoso screen-writer and a story-concocter.
Jamie Foxx has gained his best leading role since his Oscar-crowning RAY (2004), although most of time he has been subdued into a marginalized sidekick, he and Kelly Washington (who is very underrated not only in this film) does make for a great couple on screen, his Django-spelling scene with Franco Nero (who is the leading man in DJANGO, a 1966 spaghetti by Sergio Corbucci, a film from where Quentin gets his inspiration) is the tribute moment for all the fans.
So, as we all know, it is Waltz gets an Oscar nomination, but I firmly support Leonardo this time, and his acting range and personal knack has been tested and emanated to the hilt through years of versatile roles, I question when a due Oscar will ever come under his belt, his recent taking-a-long-break-from-acting manifestation may suggest he finally comes to the terms with the disillusion.
Digressing back to the film, one can always enjoy a great deal of time in Quentin’s cornucopia of vintage refrains and other trendy tunes, when Western meets Rap, the blood must spout stronger! Even violence has been transformed into some sort of comical set pieces when the uplifting melodies are chanting alongside the imminent shootouts. The film is a true Tarantino masterpiece and he always makes it the fullest!