Django Unchained (2012)
★★★ / ★★★★
Dr. Schultz (Christoph Waltz), a dentist, approaches a group of slave traders and expresses his intention of possibly purchasing one of the chained men in line. Since he is greeted with animosity, what could have been a peaceful transaction turns deadly. But Dr. Schultz, a man of his word, does not neglect to pay the seller, on the ground and under excruciating pain for being shot in the leg, for the black man he just bought. Later, he tells Django (Jamie Foxx) that he is a bounty hunter. They make a deal: if Django helps Dr. Schultz track down three men, believed to be hiding in one of the plantations in the south, and help to kill them, Dr. Schultz will not only give Django his freedom, he will also earn twenty-five dollars for each corpse.
Perhaps the most notable quality of “Django Unchained,” written and directed by Quentin Tarantino, is its generosity when it comes to weaving subplots into its bones. This creates a narrative that inspires us to wonder how they will unspool and reconnect.
There are many elements in the screenplay that may be worth a second look in order to further appreciate its craft, like hybridizing the western and blaxploitation genres to create a farce out of the racism in mid-nineteenth century America, but what I am sure about is that the film would have been better if it had been shorter. This is because not all of the subplots unwind in consistently interesting or surprising ways. Most start off exciting but almost all eventually lose vigor. For instance, the scenes that comprise about half the picture often have one premise: the stupidity of a white person who ardently supports slavery. The scene with the Klu Klux Klan quickly comes to mind. Although the humor underneath the punches, some blood-soaked in irony, is present, I could not help but wonder when or if the material would change gears. I grew increasingly tired of the setup and as the film went on, some of the jokes that have been used are recycled.
I enjoyed that the dialogue is not as ostentatious as one would come to expect from Tarantino. Instead of the sentences demanding us to pay attention to a carefully chosen word and how it is used as, say, a double entendre, the actors’ performances outshine the script. If this had not been the case, the exchanges between Dr. Schultz and Django might not have communicated a friendship that we could believe and invest in despite the most unlikely circumstances that surround them. Times when the two main characters–a white man and a black man–are quiet or making a real connection by telling each other more about themselves are, surprisingly, the most memorable moments because the material taps into the simmering sadness and outrage of the scar that continues to define America.
The hyper-stylized violence also works but maybe not in a way one would come to expect. Sadly, a lot of people have the tendency to relate to violence on screen more than scenes of two people connecting to one another through simple conversations. The gun battles are dispersed and I think the writer-director is very smart to have employed such a technique to get people to care more deeply about what is happening. While I would have preferred that the violence be saved at end of the picture to serve as a catharsis, it is understandable why the bloodshed may feel to occur very randomly at times.
I did not find “Django Unchained” especially entertaining but I appreciated its visual artistry and carefully measured yet outwardly wild performances. Although it can be interpreted as a straight arrow revenge story, we can look at it another way and think about issues it wishes to address underneath the amalgamation of anachronisms.