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After having won the Golden Globe for his
western script, Tarantino has shocked the journalists using the forbidden word
in America
"Negro".
The latest film of Quentin Tarantino film,
Django Unchained, is one of those things that do not leave you indifferent. For
sensitive souls, attuned to the stories that celebrate the good feelings, this
film may be unsustainable by the violence of some scenes. However, for seasoned
moviegoers who know how to back or are a little bit familiar with film experiences
such as Natural Born Killers (Oliver Stone) or Apocalyptico (Mel Gibson),
Django deserves to be discovered, because in- Beyond the violence inherent in
such data and in western world especially, there are all the rest, that is to
say, all the other ingredients that make this film one of those who count in
the film making of the genre.
However, it will be unfair to consider this film as the best of Tarantino since Pulp fiction - with this indefinable something in addition, making an aesthetic object firmly changing.
Django Unchained is certainly a baroque work, full of energy, and heterogeneous: from Greek mythology to the world of ancient Germanic legends, Western Spaghetti Alexander Eisenstein (see again and again the scene of the Ku Klux Klan ride) and the hell of slavery, the horrors of colonization.
But this work is especially disturbing an object by its impurity: a work halfway between pure entertainment (series B film) and great auteur cinema, that is to say, this category of works of self-reflexive carriers a transcendent aesthetic dimension. On one hand, he self-identifies as Remake of an old Western Spaghetti by Sergio Leone, Django, considered at its output in 1966, as one of the most violent kind.
However, it will be unfair to consider this film as the best of Tarantino since Pulp fiction - with this indefinable something in addition, making an aesthetic object firmly changing.
Django Unchained is certainly a baroque work, full of energy, and heterogeneous: from Greek mythology to the world of ancient Germanic legends, Western Spaghetti Alexander Eisenstein (see again and again the scene of the Ku Klux Klan ride) and the hell of slavery, the horrors of colonization.
But this work is especially disturbing an object by its impurity: a work halfway between pure entertainment (series B film) and great auteur cinema, that is to say, this category of works of self-reflexive carriers a transcendent aesthetic dimension. On one hand, he self-identifies as Remake of an old Western Spaghetti by Sergio Leone, Django, considered at its output in 1966, as one of the most violent kind.
On the other hand, Tarantino's Django is a
genre film, more than entertainment. If surprise and confusion, is that he has
the stuff you love this great movie: one where we visit the past of America, namely the horrors of the slave trade
with this criticism and uncompromising look that only know to deploy the great
masters of American cinema.
In short, a real lesson in screenwriting history, which contrasts sharply with those practiced by the old continent, particularly in some nations, the heavy colonial past, where there is this habit of visiting history to justify the horrors, often for purposes of self-congratulation.
Finally, , Django can also be seen as conveying an unsuspected political dimension, and the receipt escapes the intentions of the authors of the screenplay. And because it is intended, rather, to the public of the south, and especially to those engaged in the process of unequal struggles against their local masters;Django remains an attractive movie to cinema-goers and to large public . And, of these, can we see a perfect incarnation in the person of sadistic slave Calvin Candie, played by Leonardo DiCaprio.
Tarantino is a film maker who can not miss any new movies .Since his Kill Bill , too many webloggers around the world have written to him to write a a third version of the Kill Bill series .But, Taranatino prefers to go back to the past of his country to visit its horrors and injustices .Better yet, it's all the narrative of the film Django that unfolds gradually, as an irresistible call to freedom.
In short, a real lesson in screenwriting history, which contrasts sharply with those practiced by the old continent, particularly in some nations, the heavy colonial past, where there is this habit of visiting history to justify the horrors, often for purposes of self-congratulation.
Finally, , Django can also be seen as conveying an unsuspected political dimension, and the receipt escapes the intentions of the authors of the screenplay. And because it is intended, rather, to the public of the south, and especially to those engaged in the process of unequal struggles against their local masters;Django remains an attractive movie to cinema-goers and to large public . And, of these, can we see a perfect incarnation in the person of sadistic slave Calvin Candie, played by Leonardo DiCaprio.
Tarantino is a film maker who can not miss any new movies .Since his Kill Bill , too many webloggers around the world have written to him to write a a third version of the Kill Bill series .But, Taranatino prefers to go back to the past of his country to visit its horrors and injustices .Better yet, it's all the narrative of the film Django that unfolds gradually, as an irresistible call to freedom.
