Author Topic: DJANGO UNCHAINED  (Read 70676 times)

Offline Battle

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Re: DJANGO UNCHAINED
« Reply #30 on: December 02, 2012, 05:10:21 pm »
While I am always interested in the examionation of race in pop-culture, there is something of GREAT importance that is being overlooked here. Namely,

When will my tickets to the advanced screening of DJANGO in NYC arrive?





HA HA HA HA HA HA HA!!! ;D

Offline Hypestyle

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Re: DJANGO UNCHAINED
« Reply #31 on: December 03, 2012, 05:19:05 am »
I suppose, out of all Quentin's films so far, this one has the "most" excuse to liberally feature n-bombs sprinkled throughout the dialogue.  I remember years ago, renting Reservoir Dogs (I had little idea of what it was about, only this was his first film) but I could only get maybe 35-40 minutes in before turning it off, almost every main character was some form of a bigot ("you guys are fighting like.....") I started to want them all to just get killed and end the movie like that.  I suppose I'll rent it again someday to find out what happens..

Considering the subject matter, I wonder how many theater outlets/chains in the South will decline to showcase the film, or perhaps switch tickets?  Southern HEF peeps, let us know..
Be Kind to Someone Today.

Offline Battle

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Re: DJANGO UNCHAINED
« Reply #32 on: December 03, 2012, 05:40:04 am »
Considering the subject matter, I wonder how many theater outlets/chains in the South will decline to showcase the film, or perhaps switch tickets?  Southern HEF peeps, let us know..




I most certainly will do that, Hype! :)


Offline Kristopher

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Re: DJANGO UNCHAINED
« Reply #33 on: December 03, 2012, 07:38:32 am »
Considering the subject matter, I wonder how many theater outlets/chains in the South will decline to showcase the film, or perhaps switch tickets?  Southern HEF peeps, let us know..




I most certainly will do that, Hype! :)

Does Maryland count or just the Confederate States that voted for Romney? ;)

Offline Lion

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Re: DJANGO UNCHAINED
« Reply #34 on: December 03, 2012, 08:32:26 am »
Well... the Mason-Dixon Line is north of you, so...

Offline Kristopher

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Re: DJANGO UNCHAINED
« Reply #35 on: December 03, 2012, 08:52:42 am »
Well... the Mason-Dixon Line is north of you, so...

And Washington DC

Offline Kimoyo

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Re: DJANGO UNCHAINED
« Reply #36 on: December 03, 2012, 02:20:27 pm »
Considering the subject matter, I wonder how many theater outlets/chains in the South will decline to showcase the film, or perhaps switch tickets?  Southern HEF peeps, let us know..

I saw "Skyfall" with my son at a theater in a predominantly caucasian neighborhood.  It was the second weekend and the venue was packed.  The previews were received with interest by some and ignored by others but as usual with a crowd that size there was a healthy buzz throughout until the last preview -- Django Unchained!  After that preview...CRICKETS!  You could hear a pin drop in the theater.  I mean dead silence!  I haven't heard a crowded movie theater go that quiet since the scene in "Forrest Gump" where after Forrest gave Bubba's family their share of the profits from his shrimpin' business (Bubba inspired the idea) the suddenly wealthy black family hired a caucasian butler.

Gotta go see Django!

Peace,

Mont

Offline Battle

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Re: DJANGO UNCHAINED
« Reply #37 on: December 12, 2012, 06:31:45 am »
Ask Jamie Foxx about "Django Unchained"  at CNN.com/interview


Ask Leonardo DiCaprio a question at  CNN.com/interview


Have a question for Samuel L. Jackson?  Ask at  CNN.com/interview

Offline Battle

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Re: DJANGO UNCHAINED
« Reply #38 on: December 13, 2012, 06:35:37 am »
Have a "Django Unchained"  question?

Go to CNN.com/Interview.

Offline Reginald Hudlin

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Re: DJANGO UNCHAINED
« Reply #39 on: December 13, 2012, 08:54:58 am »
HUFFINGTON POST:


Trey EllisNovelist, Screenwriter, and Associate Professor at Columbia University

Django Surprised Me
Posted: 12/11/2012 9:12 am

Like every other black filmmaker and/or self-appointed guardian of black cultural treasures, I was as worried as I was delighted when I heard Quentin Tarantino's next film would be a slave-narrative-cum-spaghetti-western. He's easily one of the most exciting filmmakers in the history of cinema, and much of that excitement comes from how he challenges the audience. However some black fans, including me, have sometimes struggled with his well-publicized, pre-hipster love affair with the n-word.

For example Tarantino's Jackie Brown is a masterpiece. For resuscitating the career of Pam Grier alone, the director should have been awarded whatever the black equivalent is of the Légion d'Honneur. The 38 utterances of the n-word didn't enrage me as it did Spike Lee (who counted them), and then said in an interview for Variety, "Quentin is infatuated with that word. What does he want to be made -- an honorary black man?"

Well, now for making the funniest, most-energizing, complicated, brilliant and uplifting action-adventure about a slave turned gunslinging folk hero, Tarantino has more than earned his black card. Jamie Foxx's Django and Sam Jackson's Stephen are two of the most nuanced, real, raw and entertaining black characters ever filmed. Foxx has the courage to begin his character as a vulnerable, beaten and heartbroken slave who gradually grows into an unforgettable and instantly iconic American folk hero. Jackson's Stephen (a play on Stepin Fetchit) is easily one of the most audacious and ultimately brilliantly surprising performances of his career.

The ocean of black pain that is slavery has cried out for dramatizations as loudly as the mad slaughters of WWII, and yet, curiously, it has been seriously underfilmed. Just as Tarantino's Inglourious Basterds reclaims that war for Jewish heroism, Django positions an indelible black hero as the avenging angel of the great shame that is slavery. As a black man I have to thank him for that. And as a black filmmaker I'm both impressed and jealous.

Any old-school, righteous black folks still holding a grudge against Tarantino ought to let it go already. Denzel famously confronted the director on the set of Crimson Tide over his use of racial epithets, and now, almost twenty years later, Denzel's daughter crewed on Tarantino's new film.

Django is a new and important black hero. Finally a prism through which to view slavery that empowers rather than shames or defeats. Plus it makes you laugh at things you never thought possible. My son's eleven and he's about to see his first R-rated film.

Offline Catch22

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Re: DJANGO UNCHAINED
« Reply #40 on: December 13, 2012, 03:17:11 pm »
This is the first Tarantino film I'm actually thinking about buying a ticket to see in the theater and the first one I think will be good since the Reservoir Dogs. 

Offline Reginald Hudlin

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Re: DJANGO UNCHAINED
« Reply #41 on: December 14, 2012, 01:22:16 am »
SHADOW AND ACT:

More Than A Few Words (Maybe Too Many...) About 'Django Unchained'

REVIEWS BY SERGIO
DECEMBER 12, 2012 12:05 AM

 
Oh boy here we go…

Well, I’ve said it before and I’ll say it again: Is there a film that has caused more heated discussion this year, before it's even come out, than Django Unchained? (Next year I’m sure there will be a new film that will raise peoples' hackles).

Most of the furor over the film was from the result of an early draft of the script that was leaked online - a draft that I admittedly never read. Reason being, scripts change a lot during development and production, and the end result on the screen is often radically different than what finally ends up on the big screen.

But let’s state the obvious here... Django is a film that’s supposed to be controversial, and I find that there’s nothing wrong with that. In fact, I’ve always believed that controversy is good for the soul. People need to get upset from time to time. Too many films, and most TV shows for that matter, are conceived to be passive entertainment designed to lull you into sleep.

I would rather have a film get people upset enough to leave the theater in a rage, than to have people dragging themselves out after seeing a film, nodding to themselves, saying: “Oh, I guess that was O.K., I guess.” I think that films should, sometimes, engage and outrage.

So, of course, if it’s a film that deals with slavery, it’s still a touchy subject even in this 21st Century. Especially when it comes to black folks. We’re still too conflicted over dealing with this “peculiar institution” as it was called. There are those who wish to ignore it altogether, to pretend it’s something in the past to be ashamed of and forgotten. However there are others who feel that we still don’t talk enough about it, and the still lingering psychological effects it has on black people.

However, when it comes to the cinematic treatment of slavery on the screen, that’s when the fur really begins to fly. It’s no secret that slavery has been woefully and inaccurately portrayed in cinema history. Too often it’s portrayed either as a romantic fairy tale, full of happy content slaves, serving their white masters without complaint, or some female house slave who falls in love with her white master with dreams of a happy life together. The horror and brutality of slavery has rarely been seen in films, and it’s no surprise that people are reluctant to see it.

Granted there have been black directors who have dealt with slavery before in films, such as Haile Gerima (Sankofa), Charles Burnett (Nightjohn) and soon Steve McQueen when his 12 Years a Slave comes out next year. Though I find it interesting that of those three I named, only one is African American - the other two being British and Ethiopian. Which comes back to a piece I wrote for S & A a year and half ago about why a serious film about slavery is so hard to be made - the reason being, as I said, “simply that we, even in this day and age, still have way too much psychological and emotional pain and baggage still associated with slavery.”

Which brings us to Django Unchained and what it is not.

It is not the definitive, ultimate film about slavery, and it was never intended to be that. It is, after all, a Hollywood studio movie made for the main purpose of entertainment. What it is, is a fantasy of sorts. A sort of wish fulfillment of what one wishes might have been, of black avengers righting wrongs. A black hero who goes through hell and high water to save his damsel in distress.  There have been a million movies like that with white characters, so what’s wrong with having a black one doing that for a change?  When was the last time you saw a black man on the screen going through the gates of hell and back again with one single purpose in mind, to save the women he loves? I'm think like, never.

Some have called Django a “black revenge” film and there’s nothing wrong with that, though some have complained about it. I don’t recall anyone complaining about Jewish revenge films like Tarantino’s Inglorious Basterds, Spielberg’s Munich or Edward Zwick’s Defiance. Didn’t hear a peep.  No one had a problem. But seeing a black man getting payback against slave owners, and suddenly people, lots of them black, start getting hot under the collar.

Something else is that, though the film is very funny at times, none of the humor comes from scenes involving slavery or the degradation of black people. In fact, it’s just the opposite. There are painful and quite disturbing scenes of the brutal treatment of black people being whipped, branded with hot irons, and torn apart by rabid dogs. It’s violent, brutal and extremely ugly. Not for the squeamish or more sensitive types. The point is that that, this is what happened and even worse atrocities than that. Would you rather see a film that tries in some way to reveal the horrors of slavery, or Halle Berry in Queen?

But after all that, what’s the deal on Django in the final run?

The result is, as far as I’m concerned, simply fantastic! In fact, I consider Django one of Quentin Tarantino’s strongest films, far better than Basterds, which tended to meander into other subplots, interrupting the basic dramatic flow of the main story. Django is all of one piece, with a forward moving narrative.

And for a film running 165 minutes, it moves. It never feels draggy or long winded. And like all of Tarantino’s films, it features all his own trademarks. There’s the mixture of film genres. Django is a wild mixture of Blaxploitation films such as Slaughter’s Big Rip -Off, the spaghetti westerns of Sergio Leone and Sergio Corbucci, Goodbye Uncle Tom, Blazing Saddles, Mandingo, and the late 60’s TV western show The Outcasts, which I wrote about HERE , with an eclectic soundtrack featuring everything from Ennio Morricone’s music for Two Mules for Sister Sara, Verdi’s Requiem to Rick Ross.

No doubt, people will criticize the extreme violence in the film where bullets seemingly tear out chunks of people bodies when they get hit. But that's historically accurate. Large caliber bullets during the 19th century traveled more slowly and were made of heavier material and as a result would rip out people’s flesh. If you didn’t die from the shot, you would bleed to death screaming in agonizing pain, as a lot of people do in Django.

And of course there’s Tarantino’s patented technique of long dialogue scenes that slowly rise in tension to a sudden climax, before reverting, and then building again in suspense to a more explosive and violent final climax.

And there are his quirky choices in casting including, Walton Goggins, the original Django himself, Franco Nero in an amusing cameo bit, Lee Horsley (from that ABC detective show Matt Houston back in mid- 80’s - where did he find him?), Don Johnson who is great as evil plantation owner, Bruce Dern,  to, of all people, Don Stroud, who played villain Ed McMahon’s enforcer and hit man in Slaughter’s Big Rip –Off.

As for the performances  all of them are terrific, but Leonardo DiCaprio must be the standout. As Calvin Candie, a plantation owner who breeds Mandingo fighters, he’s both charming and frightening at the same time. There always a glint of madness in his eyes. It is truly mesmerizing performance and one extended dinner table scene which starts off calmly, but turns into a truly frightening display of terror alone maybe his best work to date in a film is years.

Christoph Waltz is also charming and very charismatic as Dr. King Schultz the bounty hunter, who Django partners with. There’s a practiced theatricality in his style and mannerisms - half actor, half killer. What is interesting though is that unlike what people have been thinking about his character is without seeing it; Schultz is no white savor. He’s a businessman and killer who sees Django as a means to an end to get what he wants. Something that Django quickly understands. If someone else could have provided that for him, Schultz could have gone with him. As a result, Django uses Schultz as an opportunity to get what he wants - his wife back and bloody revenge.

Jamie Foxx’s performance as Django is much more subtle and complex. Some will complain that he doesn’t seem to say much in the film, but that’s missing the point that’s right in front of them. Django is, like Schultz  an opportunist, but unlike him, for a righteous cause. Once freed of his shackles, he quickly leans the tricks of trade of being a bounty hunter, and becomes his own man. Something that he always was, even before the chains came off. Something  he does to one of the traders who was transporting him at the beginning of the film reveals that. After learning the ropes of the bounty hunting trade and being a natural deadly shot, he takes his situation into his own hands; and what is the most pivotal scene halfway through the film, tells Shultz that, from then on things will be done his way and they are. This is not the white savior/black pupil situation that some feared their relationship would be in the film.

Samuel L. Jackson is a horse of a different color, playing what is essentially the King of Uncle Toms. It’s actually a rather brave role for Jackson to play. A character who is meant to be despised and loathed, kowtowing to his white master DiCaprio, and doing everything he can to subvert and undermine Django. He’s so despicable that I suspect even white people in the audience will have nothing but contempt for him. In many ways he’s a parody of the devoted slave stereotype seen in countless antibellum plantation movies of the 1930’s and 40’s, usually played by an actor like Clarence Muse, but taken to an even more extreme level.

Kerry Washington, one would argue, compared to the other actors, is underdeveloped in term is characterization. Yes she is brutalized and whipped, though not raped in the film. But one must argue that, that’s what happened back then. The ugly reality is that black women were considered chattel. But nevertheless, Washington’s character is yet strong and resilient. If she is not as fully fleshed out as the other major characters, is perhaps the film’s only shortcoming.

No doubt people will be upset with my take on the film (I can hear the angry comments already), but that’s what Django does. It demands an emotional response whether you like it or not. Tambay will soon give his opinion on the film which I suspect will be far different than mine. That’s great as far as I’m concerned. I wish there were more films that could create this sort of furious debate and conflicted feelings.

But I absolutely love and was blown away by Django Unchained, and I can’t wait to see it again, and again after that.

In a way I’ve been waiting to see a film like this about a black hero for the last 30 years.

Offline Reginald Hudlin

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Re: DJANGO UNCHAINED
« Reply #42 on: December 14, 2012, 02:24:09 am »
HOLLYWOOD REPORTER:

'Flight,' 'Django Unchained' Among NAACP Image Awards Nominees
11:58 AM PST 12/12/2012 by Rebecca Ford
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Despite a controversy of its use of the n-word, Quentin Tarantino's film collects four nominations.

The National Association for the Advancement of Colored People (NAACP) announced nominations for the annual Image Awards on Tuesday.


Robert Zemeckis’ Flight, Quentin Tarantino’s Django Unchained will compete for best motion picture against Beasts of the Southern Wild, Red Tails and Tyler Perry’s Good Deeds. Despite a controversy over its use of the n-word, Tarantion's film collected four nominations, one for best picture and others for Jamie Foxx, Samuel L. Jackson and Kerry Washington.

The Weinstein Company leads with four nominations, and Lionsgate and Paramount Pictures follow with four in the motion picture category.

Offline Reginald Hudlin

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Re: DJANGO UNCHAINED
« Reply #43 on: December 16, 2012, 09:39:10 am »
ColeSmithey.com – december 12, 2012: by Cole Smithey 

 

You know from Tarantino’s audacious choice of intro music — the haunting theme song from Sergio Corbucci’s iconic 1966 Spaghetti Western “Django,” that the maestro-of-all-things-tasty has many surprises in store for his delighted audience. Campy, funny, shocking, and seeping with sardonic social commentary, “Django Unchained” is Quentin Tarantino’s finest film. 

 

The madness of slavery, i.e. racism, hangs thick in the air of the American South circa 1858. Tarantino says of his film’s representation of the pre-Civil War South: “It can’t be more nightmarish than it was in real life. It can’t be more surrealistic than it was in real life. It can’t me more outrageous than it was in real life.” Indeed, groans of audience empathy arrive at intervals with the agony we witness on-screen. Tarantino’s allegory regarding the use of torture couldn’t be more obvious.

 

In typical revenge-plot fashion, Tarantino establishes the nimble bounty hunter Dr. King Schultz (brilliantly played by Christoph Waltz) as the kind of man who can get himself out of any situation. The retired dentist “purchases” freedom from slavery for Django (Jamie Foxx) to assist Schultz in identifying a trio of brothers named Brittle whose heads carry a hefty reward. Django proves more than qualified for hunting down and killing slave-owners. Working together as a team, Dr. Schultz and Django craft a complex plan to free Django’s enslaved wife Broomhilda (Kerry Washington) from the evil clutches of Leonardo DiCaprio’s plantation owner Calvin Candie. “Candyland” is name of Mr. Candie’s plantation where he cultivates “Mandingo” slave warriors who fight to the death. DiCaprio’s centerpiece monologue — wherein the actor accidentally cut his hand and chooses to use the blood draining from his hand — is the stuff of cult movie legend. It’s not too early to call “Django Unchained” an instant classic.   

 

Tarantino’s plot acrobatics have never seemed silkier — or bloodier for that matter. Blood doesn’t just splatter — intestines explode from bodies. As with all of Tarantino’s films, “Django Unchained” is filled with spellbinding dialogue and outstanding plot twists. Movie lovers rejoice; Q.T. is back in the house. 


Offline Battle

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Re: DJANGO UNCHAINED
« Reply #44 on: December 16, 2012, 09:49:29 am »
I'm just curious how the pacing will be executed in "Django Unchained"  because without the quirking editing style of Sally Menke, I'm not certain what (or where)  tarantino can go with this material.

Plus, I still think my suggestion of Van McCoy  would work more effectively for Django's theme music! ;D