Respond to these rapid questions in our Django Unchained quiz and we will tell you which Django Unchained character you are. Play it now.
Four out of five stars
Now consider Dr. King Schultz’s peculiar personality. He is a wandering dentist who operates out of a small wagon while navigating the backroads of the South before the Civil War. We see a line of shackled slaves being led through what I must describe as a deep, dark forest because that’s the kind of forest we encounter in fairy tales as Quentin Tarantino’s “Django Unchained” begins. Schultz (Christoph Waltz) emerges from this depth and darkness, his lantern hanging from his wagon, which has a bobbling tooth on its roof.
1/8/13: I inserted information pertaining to Samuel L. Jackson’s character Stephen.For the record, I would give this product four stars.Yes, if an injury hadn’t stopped me from seeing it sooner, this would have made my list of the best movies of the year.
With the elaborate protocol he’ll employ throughout the movie, Schultz introduces himself. He has a good cause to think he might be interested in one of the slaves. This is Django, the slave. (Jamie Foxx). For reasons involving the doctor’s late wife, he goes into negotiations to buy Django, who he has cause to think could assist him in locating the Brittle brothers.
And already Tarantino has us, and it’s off to the races. The movie provides sensational sequence after sensational sequence, all of which are centered on these two intriguing characters who appear to be complete opposites but who also have common financial, emotional, and pragmatic problems. Never do we turn back. Perhaps it’s for the best.
However, before the story veers off course, I have to pause and ask: Does it strike you as odd that Dr. King Schultz should have been pulling his wagon through that particular deep, dark woodland while Django was being led in the vastness of the South? How is it possible that he even knew about that? How strange that the slaves’ and the wagon’s paths, which ought to have flown passed one another like two ships in the night, should come face to face.
. the. Let us clarify him. He is like a wizard from a fairy story; he has the power to know about people’s lives, control their fates, and seduce them into circumstances where they will meet their just rewards. Although “Django Unchained” contains a lot of realistic elements, such as brutal brutality, King Schultz is not as realistic as the other characters.
I need the expression deus ex machina. I’m sorry to my many followers who are aware of it already. For those few who don’t know, a “deus” is a character or plot element in a story who appears out of nowhere and has a solution to give. According to Wikipedia, “Horace’s Ars Poetica, in which he warns poets against using a deity from the machine to resolve their plots, is where the Latin expression deus ex machina first appeared in English. He makes reference to the practices of Greek tragedy, in which performers portraying gods were hoisted onto the stage with a crane, or mekhane. Imagine Tarantino lowering Dr. Schultz into “Django Unchained” with his feet braced on clouds and using him as an incredibly helpful device to steer the narrative wherever it needs to go.
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We learn that Dr. Schultz is a bounty hunter in the movie, looking for wanted individuals “dead or alive,” even though we never see him pulling teeth. A lot of information is needed for this plot, and there is no time to waste in presenting it or looking for it. In addition to knowing who and where Django is, Schulz also knows the locations of several wanted individuals who are hiding out in different identities. He calmly describes why he shot the sheriff before doing so. He pulls the Wanted signs out of his endless pocketbook. Tarantino can create flawlessly entertaining scenes thanks to Schultz’s apparent ability to dig himself into and then out of holes thanks to his knowledge, which enables him to do so.
Aside from becoming Django’s friend and partner, he also grants him his freedom. After using Django as his hunting partner for a winter, he then teams up with him to attempt to reclaim Broomhilda (Kerry Washington), Django’s wife. Why does he act this way? mainly because he despises slavery and loves Django. This is a convenience that makes recounting stories by QT much simpler.
With “Inglourious Basterds,” Tarantino previously tackled the Holocaust; in this brilliant entertainment, he tackles enslavement. Christoph Waltz played a leading part in that one as well, navigating situations with his German accent and formalities. Since he enjoys dialogue so much, Tarantino gives it unusually long runs for the quasi-exploitation category. Think about how audacious QT was to enable “Basterds” to open with such a long sentence. If Tarantino is to be believed, he worked as a video shop clerk in his youth and watched almost every video there. In 1989, he quit that position. Five years later, I was speaking with him in Cannes, where “Pulp Fiction,” the eventual Palme d’Or winner, had been submitted by the Knoxville video store employee. He didn’t learn how to write sparse dialog from those exploitation masterpieces, though. You can almost picture how much he enjoyed going into greater detail when retelling the plots of his favorite movies.
He told me something that day that is important to recall when discussing “Django” because it is so full of violence and transgressive behavior: “I hear the laughter as I write a screenplay. There is discussion of the bloodshed. How about the humor? Even with all the strange things that are occurring, “Pulp Fiction” has such an obviously comic spirit. The most agonizing experience, in my opinion—and this goes for both “Reservoir Dogs” and “Pulp”—is watching it with an audience that is unaware that they are meant to be laughing. That is a fatality, after all. Because the crowd is completely silent and I can hear their laughter in my head, but you know?
Django Unchained Quiz
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I kind of know. The scene in “Django Unchained” where we visit a Southern Plantation run by a genteel monster named Calvin Candie (Leonardo DiCaprio), who for his after-dinner entertainment is having two slaves battle each other to the death, however, made me think of some dead crickets. The blood that flows in the movie unusually freely is all over the brutal battle. The slave who is losing screams nonstop, and I noticed that there is a lot more screaming in the movie than you typically hear in a violent scenario. When the struggle is finally over, a shot of the slave’s head is shown as Mr. Candie drops a hammer on the ground next to it. The victor of the battle uses the hammer to defeat his foe (barely visible off-screen).
I started writing a letter to Quentin explaining why I stopped watching his movie at this moment in the movie. There was no letter penned. These sequences appear in the majority of Tarantino movies. Do you recall how Michael Madsen severed the police officer’s ear in “Reservoir Dogs”? I think QT’s goal when he starts a movie is to shoot over the top. The cap by itself won’t cut it.
We are aware of his interest in and support for trash movies. He absorbs their constituent parts and elevates them to the pinnacle of their aspirations. The goal of the exploitation genre is to draw viewers in based solely on the shocking content, despite of other factors like movie stars, budgets, artistic skill, or profundity. The wish to be… exploited clings tenaciously to the hearts of many moviegoers.
Irrefutable fact: “Django” finished second at the box office over the post-holiday weekend with $20 million. Les Miserables came in fourth with $16 million, and “The Hobbit” came in third with $17.5 million. “The Texas Chainsaw Massacre 3D,” a remake, took home the top spot for the weekend with $23 million. Even though “Django’s” present total after just two weeks is $106 million, this information may be misleading.
What Tarantino possesses is an understanding of the gut-level appeal of exploitation films along with the artistic wish to replace that element with something better, more daring, and more elevated. In the most direct manner possible, his films directly confront social taboos while also incorporating humor or satire.
Think about the melee I described. Where’s the humor now? In his thoughts, Tarantino claims to hear laughter. Why? I think it’s because the entire movie takes slavery—a painful, touchy subject—and tackles it head-on with no pretense of restraint. The reason for QT’s laughter at one moment in the scene might be that he’s rubbing it in that while the audience anticipates violence, they don’t anticipate it to be this extreme.
The movie is frequently stunning to look at. The farms in Tarantino’s Southern films are flat, cloud-covered flatlands in the spring, with groups of slaves standing as figures in the landscape. His movie takes us to Candyland, where Django’s wife Broomhilda von Shaft is owned by the evil Calvin Candie. (Kerry Washington). Schultz claims he wants to purchase one of the Mandingo slave combatants that Candie uses in their death matches. Because Broomhilda, one of Candie’s slave women, speaks German and he longs to converse in his native tongue, he offers to add a little additional for her.
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That is skillful deception using the mandingo as a front. Candie agrees with it. At Candyland, not everyone does. The most difficult performance in this showy movie, the one that really gets under your skin, actually runs the risk of going unnoticed. That is Samuel L. Jackson’s portrayal of Stephen, the most beloved and privileged slave of Calvin Candie. At Candyland, he serves as both butler and head of staff. He is well-dressed, Candie treats him with (relative) reverence, and the other slaves view him as no better than a racist white—indeed, they view him as worse because he betrays his race. He is Granduncle Thomas, Esq., the traditional Uncle Tom.
A pivotal moment occurs when Stephen and Calvin unwind in private at the end of the day while sipping cognac snifters. They may be on similar footing in these enclosed spaces. The exclusive talks between the Earl of Grantham and the butler Carson from “Downton Abbey” came to mind. Stephen undoubtedly has the best existence a slave could have at that time, but what a price! No one has more menacing-looking eyes than Jackson’s, and as he looks at Django, Broomhilde, and Schultz, we can almost read his thoughts. He can see through Schutz’s story that he wants to pay a ridiculous price just to have someone to talk German with. He states the obvious to Calvin: It is Django who desires and adores Broomhilde.
In some ways, Stephen’s betrayal in revealing this reality is the most hateful action in the film because he transgresses not only against the other characters but also against himself. He admits that he views himself as white in some foul corner of his psyche. The way Tarantino responds to the fallout from his betrayal sets the stage for the movie’s satisfying Quentonian celebration of violence, explosions, and all that other things. In order for Stephen’s realizations to penetrate the reveal of the secret the others share, consider him to be a deity who has been crank-down onto the stage. He strives toward that goal but is also capable of recognizing black racism in a movie that denounces white racism.
Because he forces African-American viewers to recognize the part some of their ancestors played at the time, Stephen is an important character. A system in which one individual rules ten is made possible by the cooperation of some of the ten, just as it was more recently in South Africa. The reality is stark and inescapable. Jackson’s performance calls for not only his acting prowess but also his bravery as a man who recognizes the importance of an obvious role and is ready to take it on.
The name “von Shaft” also represents Tarantino’s sinister penchant for inserting distracting and outrageous names into the middle of intensely serious and violent content as a way to hint to the audience that he is on the verge of parody. Tarantino’s predecessor, Russ Meyer, also loved to saddle his characters with unexpected names; in “Beneath the Valley of the Ultra-Vixens,” we discover Eufaula Roop, Mr. Peterbilt, Dr. Asa Lavender, Semper Fidelis, Norse Flovilla Thatch and Beau Badger. (The name “Eufaula,” Russ told me, came from the name of the Southern town where one of his old Army buddies lived.)
The n-word was overused in “Django,” which is a long-standing criticism of Tarantino. Despite the fact that the total number exceeds 100, I knew this word to be one that was frequently used in the antebellum South. It made sense in the overall scheme of things. I wrote my fictitious message to Tarantino in response to criticism that the film has received for its shocking level of violence. Yes, it is deserving of its R classification, and in a different era, it might have received an X. But it’s not what a movie does that matters, it’s how it does it, and in this case, the violence represents Tarantino’s desire to go beyond the audience’s comfort zone for exploitation movies and insist that yes, this was an inhumane society and culture.
Tarantino engages in all-out assault. The Klan members complain that they can’t see through the eyeholes in the hoods covering their heads in one of his most creative sequences. In everything but topic, that could be from a Looney Tunes movie. Grandiose and pragmatist, QT freely uses implausibility. After luring his audience inside the tent, he then puts on a carny performance that the audience is ill-equipped to handle. He is an expert videographer.
According to Tarantino’s IMDb page, he is currently working on a movie that is a remake of Russ Meyer’s “Faster, Pussycat! “Death! Death!” That is the movie that John Waters called “the greatest movie not only ever made, but the greatest movie ever to be made.” The moniker must have been alluring in and of itself, tugging at Tarantino’s memory of those long-ago video store days.
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