My review of the film Django Unchained is up over at RedFenceProject.com:
Django Unchained, the latest from director Quentin Tarantino, self-consciously incorporates the classic tropes of a Spaghetti Western with a brash flair of action-flick attitude that refuses to fall completely into our traditional expectations for the genre. We’re familiar with the opening credits in bright yellow font, shoot-’em-up gunfights, Western territories scenery, and campy zoom-in shots at the arrival of new characters, but the final product is unlike any Western I’ve ever seen.
As a prime example, a song with hip-hop elements showed up midway through the eclectic soundtrack, which on the whole tends to draw from Western roots, but puts off a modern vibe at times. Given that the hip-hop jam played as a newly purchased batch of slaves made the long walk to “Candyland,” a plantation home, it felt oddly fitting.
Django treats the subjects of racism and slavery with a brutal yet often comedic irreverence. When Django (Jamie Foxx) and Dr. Schultz (Christoph Waltz) visit a plantation in search of the Brittle brothers, the owner tries to explain to one of his slaves that she isn’t to treat Django like a normal black slave, but he can’t bring himself to simply say that he should be treated like a white man. In another excellent scene (featuring a delightful appearance by Jonah Hill), a band of pre-KKK raiders gather before an attack, only to find that the holes in their hoods are too small to see through. The whole thing is nearly called off until their leader stubbornly demands they go through with it: “Did I say we ain’t wearing bags? It’s a raid! Who cares if you can see! Can the horses see!? That’s all that matters!” Through it all we can’t help but laugh at how sick and twisted the whole business is.
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